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Description
Watching the evening news offers constant evidence of atrocity--a daily commonplace in our "society of spectacle." But are viewers inured--or incited--to violence by the daily depiction of cruelty and horror? Is the viewer's perception of reality eroded by the universal availability of imagery intended to shock? In this investigation of the role of imagery in our culture, Susan Sontag cuts through circular arguments about how pictures can inspire dissent or foster violence as she takes a fresh look at the representation of atrocity--from Goya's The Disasters of War to photographs of the American Civil War, lynchings of blacks in the South, and Dachau and Auschwitz to contemporary horrific images of Bosnia, Sierra Leone, Rwanda, and New York City on September 11, 2001. Sontag's new book, a startling reappraisal of the intersection of "information", "news," "art," and politics in the contemporary depiction of war and disaster, will forever alter our thinking about the uses and meanings of images in our world.… (more)
User reviews
The title of Regarding the pain of others is ambiguous, based on the possible double meaning of the word "regarding". The essay is therefore as much, but not solely about "pain", but much more about "viewing suffering," i.e. the pain of others.
The essay deals with various types of images, starting with Sixteenth century etchings by Goltzius, and moves on to discuss the graphic work of Hans Ulrich Frank of soldiers killing peasants, dated to 1652 or the end of the Thirty Years' War, and Francisco Goya's early Nineteenth century work, a series of 83 etchings under the title Los Desastres de la Guerra. However, Sontag's essay does not convincingly bear out that these etchings are works of art, and cannot be regarded as the equivalent of journalistic photography. The essay is largely concerned with journalistic and war photography and filmography.
Regarding the pain of others does touch upon the satisfaction derived from watching the suffering of others, or at least images thereof. But the work is far more focused on describing the medium of photography than exploring man's fascination with the images of suffering. This is regrettable, as the ambiguous title gave an outlook on a broad spectrum of interest, which in this essay is only interpreted in the narrow sense of photography.