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Word Count: 262
The photograph taken can be described as synesthesia to mean that one sense, sight, can be felt through the other, hearing (Pentcheva 631). One could almost hear the little boy wail as you look at the photograph. The two senses are simultaneously perceived as one looks at the photograph.
Although it is not the case as in the olden times where there were paintings instead of photographs, we cannot understand the paintings as imprints. This is to mean that the image created is not the imitation of the form but the imprint of form itself. Today’s images can be said to be the imprint of the form as no visual elements are lost as a photograph is taken. Therefore, faithful reproduction is maintained. Thus, the photograph shows a true account of events as they happened rather than a person’s view of it. In other words, typos graphe (Pentcheva 638). The photograph has captured the moment depicting grief.
Mimesis, the Byzantine cultural word for performance can be used to describe the photograph as the performance of grief, that is the visual representation of it (Pentcheva 631). It is such an accurate description, shining a light on the effects of focusing on the people over the body while blurring out the background. This allows us to focus on the foreground where the real story is being told. Both absence and presence are clearly depicted in the contrast between the foreground and the background. A person’s ability to apprehend the invisible and intangible grief is so faithfully depicted in the photograph, and its performance (Pentcheva 651).
Pentcheva, Bissera. “The Performative Icon”. Art Bulletin 88.4 (2006): n. pag. Print.
Originally posted 2017-08-25 02:06:06.