Susan sontag on photography essay summary

On Photography Summary & Study Guide

Gasswriting in The New York Susan sontag on photography essay summary, said the book "shall surely stand near the beginning of all our thoughts upon the subject" of photography. What art says is less important than how the art expresses itself, Sontag insists.

She blurs the distinction between elite and mass cultural tastes, shocking certain critics and exciting others who see her work as revolutionary—a new way to unify disparate kinds of art.

In the Daily TelegraphKevin Myers called it "mesmerisingly precious and hideously self-indulgent. People want to save these images in their heads in order to sort information to relate to how the world is. While her basic indictments of photography and photographic reality are sharp, her own insatiable joy in repeating them in slight variants—who cherishes eighty-seven mugs of a clothesline thief?

Nonfiction[ edit ] It was through her essays that Sontag gained early fame and notoriety. Responses to her statement were varied. Modern societies do not of course share this fear by still views photography as directly related to the material world, a physical relic of it.

Since those notions change over time and differ from one society to another, art has to transcend the immediate circumstances of its production, and art should be judged by its own terms. Sontag defines camp in many different ways, but the essential point is that it is a sensibility that values style—works of art that are flamboyant, exaggerated, and even corny.

Basically Sontag is arguing a point that photography is a sort of false way of relating to the world because pictures can be so flawed, in essence, falsely interpreted. Paglia states that Sontag "had become synonymous with a shallow kind of hip posturing".

She began her undergraduate studies at the University of California, Berkeley but transferred to the University of Chicago in admiration of its famed core curriculum. Contents[ edit ] In the book, Sontag expresses her views on the history and present-day role of photography in capitalist societies as of the s.

When you photograph something, it becomes a part of certain knowledge system, adapted to schemas of classification and storage starting from family photographs up to police, political and scientific usage.

Meaning, the more we take photographs the more we need to take photographs, and this accounts for what is known today as the "pictorial turn". Sontag is saying that even though to take a picture one must have distance, it still inflates hidden desires, ones that are either sexual or violent.

Sontag compares the allegory of these shadows to photos and reality, saying that photos are like shadows: In her view, to treat art as simply a conveyer of content is to negate the idea of art itself. Photography, in other words, is a form of supervision. Even though she speaks of what photos mean, she remains biased in her own views of the disadvantages.

As she argues, perhaps originally with regard to photography, the medium fostered an attitude of anti-intervention.

She is implying that because anyone can take pictures, society is overrun by photography. Hart while also attending the B. But then I started to adhere to the real story of Lord Hamilton and his wife, and I realized that if I would locate stories in the past, all sorts of inhibitions would drop away, and I could do epic, polyphonic things.

A film such as King Kong is campy, for example, because it is so overdone, so self-consciously attempting to be a monster film meant to thrill its audience.

Can it be that our enemies were right? To Sontag, this definition makes art beholden to standards outside itself. At age 67, Sontag published her final novel In America This example reveals the falseness of photos: And she will not stop saying so.

To remember is, more and more, not to recall a story but to be able to call up a picture" p. The history of this change is documented with supporting evidence derived from the works of named photographers. She achieved late popular success as a best-selling novelist with The Volcano Lover She became a role-model for many feminists and aspiring female writers during the s and s.

Sontag says that the individual who seeks to record cannot intervene, and that the person who intervenes cannot then faithfully record, for the two aims contradict each other.

Susan Sontag

There she concludes that the problem of our reliance on images and especially photographic images is not that "people remember through photographs but that they remember only the photographs She graduated at the age of 18 with an A.Photography is the world's number one hobby. So when Susan Sontag's On Photography hit the bestseller list recently, it caused an uproar among photo professionals and hobbyists alike.

"To photograph people," Sontag said, "is to violate them It turns people into objects that can be. Feb 02,  · This is an essay, if you will, of my interpretation of the first chapter ("In Plato's Cave") of Susan Sontag's book, On Photography.

For those of you who do not know who Susan Sontag ( ) was, she was an active author, intellectual, playwright, well-known cultural figure, and Reviews: 1. May 05,  · Susan Sontag – On Photography – summary Throughout history reality has been related through images and philosophers such as Plato have made efforts to diminish our reliance on representations by pointing at a direct ways to grasp the ultimedescente.com: אני.

On Photography is a collection of essays by Susan Sontag. It originally appeared as a series of essays in the New York Review of Books between and Contents. In the book, Sontag expresses her views on the history and present-day role.

This detailed literature summary also contains Topics for Discussion and a Free Quiz on On Photography by Susan Sontag. Susan Sontag's monograph On Photography is composed of six named chapters, or essays, which form a weakly related progression from conceptualization through history and implementation, to the then-current understanding of.

On Photography began with a single essay in which Susan Sontag wanted to explore some of the problems, both aesthetic and moral, presented by the omnipresence of photographed images in .

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Susan sontag on photography essay summary
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