images

How do images respond to political events and how do they shape them ? What is the political power of images ? Should images of violence be shown in the media ? Through its winter selection, Books&Ideas offers to rediscover a group of four essays and reviews, all published in 2015, which have tackled these questions through the prism of history, philosophy, aesthetics and political sciences.

Scenes of lynching, beheadings, corpses… Although easily accessible on the Internet, images of violence are often occulted in the French media. Why are some images shown while others are kept out of circulation? Are some forms of violence unfit to be seen?

2012, Terminator, Blade Runner, Melancholia. There is no shortage of films portraying the end of the world; in fact, they are becoming ever more successful. But what is their real meaning? Are they pure entertainment, allowing us to play with the idea that everything could stop from one day to the next? Peter Szendy believes that we should be taking them very seriously, because they express the fundamental nature of cinema itself – and because they tell us, in their own way, what a world is.

Creating connections has been the aim of Jean Starobinski’s work for more than half a century. His body of work is large and shifting, created in response to life, lying somewhere between the critical and the clinical. Books & Ideas met this citizen of the world at his house in Geneva, following the recent publication of three important books.

How do images shape our worldview ? What do their study bring to our understanding of society ? Through interviews, essays and reviews this dossier shows how the close study of still or moving images has become central to the social sciences. From anthropology to history or literature, taking into account the overwhelming presence of visual representation yields unexpected and original information about human, social and political relationships.

The curator of the recent La fabrique des images exhibit at the Quai Branly Museum in Paris, anthropologist Philippe Descola offers a new approach of pictorial representations on the five continents and shows the four great worldviews they manifest: naturalism, totemism, animism, and analogism.

Why is the photographic record of 9/11, the most photographed event in history, limited to an endlessly repeated loop of a handful of images? In a book as rich as it is concise, Clément Chéroux, a historian of photography and a curator at the Pompidou Center, dissects this “9/11 paradox”.