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sou dhamini
soudhamini_1 at lycos.com
Sun Jan 9 14:16:39 IST 2005
This is in response to Ananya Vajpaye's article which I found very packed. I feel the need to unwrap it for myself before I can interact. Do bear with the shearing. I am a film-maker and a current Sarai fellow.
A photograph of a war criminal undergoing trial, draws a researcher to look behind the picture and catch history direct. She is inundated with more details and nuances than the photo held. The colours of the courtroom. The body language of the criminal still at large. Her own subjectivities. At the same time, she is made aware of the privileged access a celebrity photographer gets to his subject, which is denied her as an anonymous researcher. She also hones in to the particular form of historical discourse the still photo was engaged in. For among the myriad possible angles of framing open to him, the photographer had chosen to frame it as quotation linking this event to an earlier war crime and this photograph to a nascent genre of war and justice documentation.
Interesting.
But for someone who works more with images than with words, and hence looking at it from the other side so to speak, a question that is equally interesting is how conscious we are of words as a mere representation system. Despite the point and shoot camera and handycam, image making is still shrouded in the mystique of technology and hence overtly suspect. While the means of production of words, including the formal academic word and informal reader-speech, is more familiar - hence more deceptive, in their relation to reality. Or so it seems to me. All we can do I think is to become aware of different
frames including our subjectivities and the constraints-privileges they entail. The self-reflexive - as critical tool not gimmick - is possibly the only mode of speech available today, in any register.
Comments?
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