By John Berger
“There are not any pictures which might be denied. All images have the prestige of truth. what's to be tested is in what manner images can and can't supply desiring to facts.” With those phrases, of our so much considerate and eloquent interrogators of the visible supply a novel meditation at the ambiguities of what's possible our hassle-free artwork form.
As developed by way of John Berger and the well known Swiss photographer Jean Mohr, that conception contains photos in addition to phrases; not just research, yet anecdote and memoir. Another method of Telling explores the stress among the photographer and the photographed, among the image and its audience, among the filmed second and the stories that it so resembles. Combining the ethical imaginative and prescient of the critic and the sensible engagement of the photographer, Berger and Moher have produced a piece that expands the frontiers of feedback first charged by way of Walter Benjamin, Roland Barthes, and Susan Sontag.
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Extra info for Another Way of Telling: A New Theory of Photography
When we find a photograph meaningful, we are lending it a past and a future. The professional photographer tries, when taking a photograph, to choose an instant which will persuade the public viewer to lend it an appropriate past and future. The photographer’s intelligence or his empathy with the subject defines for him what is appropriate. Yet unlike the story-teller or painter or actor, the photographer only makes, in any one photograph, a single constitutive choice: the choice of the instant to be photographed.
We witness it as the older soldier with the moustache and the woman with the shawl (perhaps a sister) do. The exclusivity of this look is further emphasised by the boy in the mother’s arms; he is watching his father, and yet he is excluded from their look. This look, which crosses before our eyes, is holding in place what is, not specifically what is there around them outside the station, but what is their life, what are their lives. The woman and the soldier are looking at each other so that the image of what is now shall remain for them.
The drama of the moment is expressed in the difference between the clothes they are wearing. His for travelling, for sleeping out, for fighting; hers for staying at home. The caption can also entail other thoughts. The Hapsburg monarchy had fallen the previous autumn. The winter had been one of extreme shortages (especially of fuel in Budapest) and economic distintegration. Two months before, in March, the socialist Republic of Councils had been declared. The Western allies in Paris, fearful lest the Russian and now the Hungarian example of revolution should spread throughout Eastern Europe and the Balkans, were planning to dismantle the new republic.