Sublime

Good stories, like photographs, freeze meaning; they turn memory into memorized lines.

Solomon-Godeau writes of Oldoini: “The lack of any clear boundary between self and image, the collapse of distinctions between interiority and specularity, are familiar, if extreme manifestations of the cultural construction of femininity.”[5]

Certain images underscore an unbridgeable gap and a never-to-be-toppled hierarchy. When a group of people is judged to be “foreign,” it becomes far more likely that news organizations will run, for the consumption of their audiences, explicit, disturbing photographs of members of that group: starving children or bullet-riddled bodies. Meanwhile, th

In some ways, the distinction between normalcy and pathology is arbitrarily defined—as well as hard to measure.

The camera is an instrument of transformation. It can make what it sees more beautiful, more gruesome, milder, darker, all the while insisting on the plain reality of its depiction.