¿Puede la fotografía mostrar lo inimaginable? El debate en torno a la representación de la shoah
DOI:
https://doi.org/10.24310/Fotocinema.2015.v0i10.5986Abstract
Resumen:Durante años, las imágenes fotográficas de la guerra y el horror han sido acusadas de los peores pecados: de ser incapaces de representar el dolor; de provocar una fascinación fetichista y voyeur; de simplificar el sufrimiento, de volverlo hermoso, de perpetuarlo; de prolongar la vergüenza de las víctimas, de explotarlas; de herir la sensibilidad de los espectadores, de anestesiarlos, etc.
Este trabajo sale en su defensa, para lo que propone profundizar en el debate en torno a la representación del Holocausto y la legitimidad de mostrar lo inimaginable que comenzó Theodor Adorno, avivaron Georges Didi-Huberman, Gerard Wajcman y Claude Lanzmann, y perpetuaron muchos otros.
Abstract:
For years, the photographic images of war and horror have been accused of the worst sins: of being unable to represent the pain; of causing a fetishistic and voyeuristic fascination; of simplifying the suffering, of making it beautiful, of perpetuating it; of prolonging the embarrassment of the victims, of exploiting them; of hurting the sensibility of their viewers, of anesthetizing them, etc.
This work comes to their defense, for which it proposes further debate on the representation of the Holocaust and the legitimacy of showing the unimaginable started by Theodor Adorno, fueled by Georges Didi-Huberman, Gerard Wajcman and Claude Lanzmann, and perpetuated by many other.
Palabras clave:Fotografía; representación; Holocausto; Shoah; Miller; Bourke-White.
Keywords:
Photography; representation; Holocaust; Shoah; Miller; Bourke-WhiteDownloads
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