MARC Record from marc_columbia

LEADER: 05408cam a2200709Ia 4500
001 4253366
005 20220625225548.0
006 m o d
007 cr cn|||||||||
008 030403s2002 maua ob 001 0 eng d
010 $z 2001059611
035 $a(OCoLC)ocm51969487
035 $a(NNC)4253366
040 $aN$T$beng$epn$cN$T$dYDXCP$dOCLCQ$dN$T$dOCLCQ$dTUU$dOCLCQ$dTNF$dOCLCQ$dZCU$dOCLCO$dOCLCF$dOCLCQ$dNLGGC$dOCLCQ$dPIFBR$dOCLCQ$dWY@$dROC$dMNS$dLUE$dRCC$dVTS$dAGLDB$dOCLCQ$dTOF$dMITPR$dSTF$dREC$dM8D$dOCLCQ$dK6U$dEBLCP$dUMK$dSFB$dOCL$dUKEHC$dOCLCQ$dINARC$dOCLCO
019 $a991972426$a1020513311$a1109177431$a1150176006$a1153079312$a1162216045$a1163233032$a1200054890$a1280228766$a1281459042$a1302240848
020 $a9780262267533$q(electronic bk.)
020 $a0262267535$q(electronic bk.)
020 $a0585437203$q(electronic bk.)
020 $a9780585437200$q(electronic bk.)
020 $z0262025159 (hc. : alk. paper)
035 $a(OCoLC)51969487$z(OCoLC)991972426$z(OCoLC)1020513311$z(OCoLC)1109177431$z(OCoLC)1150176006$z(OCoLC)1153079312$z(OCoLC)1162216045$z(OCoLC)1163233032$z(OCoLC)1200054890$z(OCoLC)1280228766$z(OCoLC)1281459042$z(OCoLC)1302240848
037 $a6398$bMIT Press
037 $a9780262267533$bMIT Press
050 4 $aTR187$b.B34 2002eb
072 7 $aTEC$x015000$2bisacsh
072 7 $aPHO$x017000$2bisacsh
082 04 $a770/.1$221
049 $aZCUA
100 1 $aBaer, Ulrich.
245 10 $aSpectral evidence :$bthe photography of trauma /$cUlrich Baer.
260 $aCambridge, Mass. :$bMIT Press,$c2002.
300 $a1 online resource (viii, 210 pages) :$billustrations
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
504 $aIncludes bibliographical references and index.
588 0 $aPrint version record.
520 $aAn original analysis of the parallels between the arrested moment in photography and in the traumatized psyche. In this remarkable contribution to photographic criticism and psychoanalytic literature, Ulrich Baer traces the hitherto overlooked connection between the experience of trauma and the photographic image. Instead of treating trauma as a photographic "theme," Baer examines the striking parallel between those moments arrested mechanically by photography and those arrested experientially by the traumatized psyche--moments that bypass normal cognition and memory. Taking as points of departure Charcot's images of hysteria and Freud's suggestion that the unconscious is structured like a camera, Baer shows how the invention of photography and the emergence of the modern category of "trauma" intersect. Drawing on recent work in the field of trauma studies, he shows how experiences that are inherently split between their occurrence and their remembrance might register in and as photographic images. In light of contemporary discussions of recovered memories and the limits of representing such catastrophes as the Holocaust, Baer examines photographs of artistic, medical, and historical subjects from the perspective of witnessing rather than merely viewing. He shows how historicist approaches to photography paradoxically overlook precisely those cataclysmic experiences that define our age. The photograph's apparent immunity to time is seen as a call for a future response--a response that is prompted by the ghostly afterlife of every photograph's subject. In a moving discussion of a rare collection of color slides taken by a Nazi official in the Lodz ghetto, Baer makes us aware that it is the viewer's responsibility to account for the spectral evidence embedded in every image.
546 $aEnglish.
505 8 $aMachine generated contents note: Introduction: Toward a Democritean Gaze 1 1 Photography and Hysteria: Toward a Poetics of the Flash 25 2 To Give Memory a Place: Contemporary Holocaust Photography and -- the Landscape Tradition 61 3 Meyer Levin's In Search/Mikael Levin's WarStory: -- Secondary Witnessing and the Holocaust 87 4 Revision, Animation, Rescue: Color Photographs from the t6dz -- Ghetto and Dariusz Jablonski's Holocaust Documentary Fotoamator 127 Conclusion 179 Notes 183 Index 207.
650 0 $aPhotographic criticism.
650 0 $aPsychic trauma$vPictorial works.
650 6 $aCritique photographique.
650 6 $aTraumatisme psychique$vOuvrages illustrés.
650 7 $aTECHNOLOGY & ENGINEERING$xImaging Systems.$2bisacsh
650 7 $aPHOTOGRAPHY$xReference.$2bisacsh
650 7 $aPhotographic criticism.$2fast$0(OCoLC)fst01061637
650 7 $aPsychic trauma.$2fast$0(OCoLC)fst01081217
650 17 $aFotografie.$2gtt
650 17 $aTrauma's (psychologie)$0(NL-LeOCL)078545269$2gtt
650 17 $aHolocaust.$2gtt
653 $aARTS/Photography & Film/General
655 0 $aElectronic books.
655 4 $aElectronic books.
655 7 $aillustrated books.$2aat
655 7 $aIllustrated works.$2fast$0(OCoLC)fst01423873
655 7 $aPictorial works.$2fast$0(OCoLC)fst01423874
655 7 $aIllustrated works.$2lcgft
655 7 $aOuvrages illustrés.$2rvmgf
776 08 $iPrint version:$aBaer, Ulrich.$tSpectral evidence.$dCambridge, Mass. : MIT Press, 2002$z0262025159$w(DLC) 2001059611$w(OCoLC)48661312
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio4253366$zAll EBSCO eBooks
852 8 $blweb$hEBOOKS