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It includes as well a stinging attack on the provincialism of media pundits who denigrate the reality of war, and a political understanding of conflict, with glib talk about a new, worldwide "society of spectacle:' just as On Photography challenged how we understand the very condition of being modern, Regarding the Pain of Others will alter our thinking not only about the uses and meanings of ...
Susan Sontag was born in Manhattan in 1933 and studied at the universities of Chicago, Harvard and Oxford. Her non-fiction works include On Photography, Regarding the Pain of Others and At the Same Time.
In Regarding the Pain of Others, Sontag is alerting us about the dangers of the wearing out of our moral feelings. She does not argue that the realities of war and violence must be kept in secret, but she explores this particular and very possible moment when the witness of other people's pain gets so used with atrocity that his moral sense and will to act is overcomed by apathy and inaction.
Regarding the Pain of Others is Susan Sontag's searing analysis of our numbed response to images of horror. From Goya's Disasters of War to news footage and photographs of the conflicts in Vietnam, Rwanda and Bosnia, pictures have been charged with inspiring dissent, fostering violence or instilling apathy in us, the viewer.
In her revealing book, Regarding The Pain of Others, Susan Sontag examines the many issues associated with the photography of warfare, genocide, and atrocity. She discusses the history of such images, why they are produced, the importance of the viewer�s perspective, censorship, and many other related topics.
1 févr. 2004 · In Regarding the Pain of Others she focuses on the impact of horrible war-images - starting with paintings such as Goya's Disasters of the War (1810-1820) going up to the present, in which first photography and then film have taken over.
5 déc. 2013 · Regarding the Pain of Others is Susan Sontag's searing analysis of our numbed response to images of horror. From Goya's Disasters of War to news footage and photographs of the conflicts in Vietnam, Rwanda and Bosnia, pictures have been charged with inspiring dissent, fostering violence or instilling apathy in us, the viewer.
