Making visible, making strange: photography and representation in Kracauer, Brecht and Benjamin

New Formations - ISSN 0950-2378
Volume 2007 Number 61

Making visible, making strange: photography and representation in Kracauer, Brecht and Benjamin
Steve Giles, pages -

Abstract

Giles traces the aesthetics of photography in Kracauer’s ‘Die Photographie’ (1927) - photography’s mimetic realism suggests it cannot be art, but Kracauer implies that photography can be redeemed for the purposes of Art and History, making it a radically anti-mimetic medium. This almost contradictory position, Giles suggests, offers a Marxist aesthetics of photography, between Expressionism and Formalism, and similar to Adorno, anticipating Brecht and Benjamin.

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To cite this article
Steve Giles (2007) Making visible, making strange: photography and representation in Kracauer, Brecht and Benjamin, New Formations, 2007(61), -

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