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The Cruel Radiance: Photography and Political Violence, by Susie Linfield
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In The Cruel Radiance, Susie Linfield challenges the idea that photographs of political violence exploit their subjects and pander to the voyeuristic tendencies of their viewers. Instead she argues passionately that looking at such images—and learning to see the people in them—is an ethically and politically necessary act that connects us to our modern history of violence and probes the human capacity for cruelty. Grappling with critics from Walter Benjamin and Bertolt Brecht to Susan Sontag and the postmoderns—and analyzing photographs from such events as the Holocaust, China’s Cultural Revolution, and recent terrorist acts—Linfield explores the complex connection between photojournalism and the rise of human rights ideals. In the book’s concluding section, she examines the indispensable work of Robert Capa, James Nachtwey, and Gilles Peress and asks how photography should respond to the increasingly nihilistic trajectory of modern warfare.A bracing and unsettling book, The Cruel Radiance convincingly demonstrates that if we hope to alleviate political violence, we must first truly understand it—and to do that, we must begin to look.
- Sales Rank: #417863 in Books
- Published on: 2012-04-15
- Released on: 2010-11-01
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.20" w x 6.00" l, 1.14 pounds
- Binding: Paperback
- 344 pages
Review
“It’s not enough to say that Susie Linfield looks at photography with fresh eyes. Throughout this book—for me, most powerfully when she takes on Nazi extermination camp photographs—she sees with a mind unintimidated by fashion, shibboleths, attitude, cliche. She sees behind the pictures she looks at, to their motives, fears, ambitions, and lies. She writes through them.” (Greil Marcus)
“A profoundly thoughtful account of the role of photojournalism in an irremediably violent world, Linfield’s book is as much about conscience and empathy as it is about photography. Examining images from the Spanish Civil War to Rwanda, she accepts no easy, sweeping answers. Rather, with vivid common sense and with painstaking, often abashed humanity, she guides us through the moral minefield where horror meets art, and helps us to see.”—Claudia Roth Pierpont
(Claudia Roth Pierpont)
“This is a magnificent book. Susie Linfield has a good eye for the photographs and a good head for the politics. And she has the moral strength to look at these images of mutilation, death, and destruction, explain their value, and demand that we look at them, too.”
(Michael Walzer)
“The Cruel Radiance is a brilliant, lucid, and incisive exploration of photography and political violence. It looks deeply and unsparingly at how photographers have pictured war, genocide, and atrocities, and in so doing illuminates photography’s democratic promise. By making the world present to us even when we want to look away, photographs have the potential to make us think and question together, to draw us into a community of witnesses.”
(Kiku Adatto, author of Picture Perfect: Life in the Age of the Photo Op)
"A somber, heartfelt plea for readers to see the truth and acknowledge and understand the consequences of humans' potential for inhumanity. This should be required reading for students of journalism and political science and general readers with an interest in human-rights activism."
(Library Journal)
“Linfield’s great achievement is more than to shake up the orthodoxy that says, ‘Look away!’ It’s a call to arms, an incitement to look closely at the world via the medium of photography, and, implicitly, to do something about it.”
(New Humanist)
"A smart, very readable dismantling of postmodern criticism's confusion over the power of photojournalism." (Los Angeles Times)
"At its best, the passionate intensity and intellectual rigour of Linfield's writing may convince you that looking away, or not looking at all, is not an option. To make sense of a violent world we must, she contends, 'look at, and look into, what James Agee called "the cruel radiance of what is." ' Whatever the cost." (Guardian (UK))
“Beautifully crafted, exquisitely written, and exceptionally powerful in its arguments.”--Design Observer
(Design Observer)
"Susie Linfield has written a brave and unsettling book . . . and she creates a calculus for a new kind of photography criticism--one that respects photography rather than distrusts it, derives its power from intellect and feeling." (Bookforum)
"To look at a photograph entails a peculiar kind of participation: distanced in time and space, and severely limited in regard to the context leading to and consequences stemming from the moment fixed on film, yet often viscerally affecting. . . . Susie Linfield writes forcefully about this predicament. In The Cruel Radiance her eye for the unplanned, wounding photographic detail that Roland Barthes called the punctum is acute, and her empathic intelligence shines." (The Nation)
"The Cruel Radiance is a beautifully considered and unabashedly impassioned plea for the continuing moral relevance of photojournalism. . . . Linfield offers a defense of photojournalism that honors the photographers without turning them into saints or their work into sacred icons." (Jed Perl New Republic)
"Extraordinary."–Christopher Knight, Los Angeles Times (Christopher Knight Los Angeles Times)
"While images of violence and human degradation should never be easy to consume, this book contends that their wordless stories demand the kind of imagination, interpretation and thought that brings the wider world closer to our doors. As such it offers a timely analysis that is itself challenging, unflinching and, for the most part, generous in its aims." (The National)
"The Cruel Radiance is a treatise on moral witness and empathic leaps: a book of brief lives--grief lives--on both sides of the camera. . . . For Linfield, criticism is a high calling. There is a scrupulous attentiveness to her looking-in and arguing-out.. . . As criticism, The Cruel Radiance is a work of deep distinction. It will surely become part of the history of its field." (Alex Danchev Times Literary Supplement)
"After years of intellectual stagnation in the field of photography criticism, The Cruel Radiance offers a stimulating, lively discussion and successfully repositions documentary photography in its rightful place, highlighting its decisive impact on how we come to understand the world. For restoring documentary photography's lost dignity, Susie Linfield deserves the thanks of photographers who still believe in the power of their craft." (Haaretz)
“Outstanding. . . . Help[s] us comprehend the world, and possibly act to change it, strongly defending the role that humanitarian communication continues to play in sustaining a public ethos of solidarity with vulnerable others beyond the West.”
(Humanity)
Finalist for the National Book Critics Circle Award in Criticism (National Book Critics Circle Award)
About the Author
Susie Linfield has been an editor for American Film, the Village Voice, and the WashingtonPost and has written for a wide range of publications including the Los AngelesTimes Book Review,the New York Times, Bookforum, the Village Voice, Aperture, Dissent, and the Nation. She is associate professor of journalism at New York University, where she directs the Cultural Reporting and Criticism program.
Most helpful customer reviews
23 of 26 people found the following review helpful.
Photos missing from the Kindle Edition
By Jason N. Weddington
I purchased the Kindle Edition, and was disappointed to find nearly all the photos missing. Instead there was only the text [To view this image, refer to the print version of this title.] Under this text was the caption for the original image. This is not an acceptable ebook experience. How can a book about photojournalism be missing all the photos?
I can't comment on the quality of the book itself, because I immediately returned the Kindle Edition for a refund.
11 of 12 people found the following review helpful.
Daring to look
By Marcos Lopes
Linfield's book is well done account of photographs which represent things that, usually, we don't want to look at. The author brings into discussion the very ethics of looking, gazing and staring, criticizing opinions that affirm that to look at the pain of others is participate in the intentions of perpetrators of politic crimes, specially against human rights. The principal targets of her critics are Susan Sontag, Roland Barthes, Alan Sekula and John Berger, as well as Benjamin and Krakauer. For Linfield, this authors are not essentially wrong, but we should place their writings in perspective and not make gospels of them. In reading this interesting book, we come to know that "to look or not to look" is not merely a question of transcendental ethics, but a political act regarding the suffering of human people. Linfield not only invites us to be daring to look at the pain of others, but also to look into it, its testimonies, its visual existence, and try to make of the gaze a means of amelioration of our chaotic world.
17 of 24 people found the following review helpful.
the evil "postmoderns"
By semper fidelis
Frances Richard's review of The Cruel Radiance in The Nation is very good, but is more generous than I am able to muster after having read the book, especially "A Little History of Photography Criticism" and related areas throughout the book where Linfield attempts to write on historical and critical topics. She is simply not up to the task. She tries to critique Susan Sontag but effectively ignores her main book on the topic, Regarding the Pain of Others, and critiques Bertolt Brecht but effectively ignores his photographic book, Kriegsfibel (translated as War Primer). She rails on these and other "haters of photography" by cherry picking quotes, ignoring wildly different historical and discursive contexts, and trying to mask the fact that she has not done her homework with "passionate argument". For a book on representation, her representations of other writers are cartoonish; if the same standard were held for photographs she would be talking about the suffering of stick figures. Her varied oppositions between thinking and feeling begs the age old question of whether people can walk and chew gum at the same time. It will probably surprise many people that John Berger is counted among the photography haters and is, moreover, "postmodern" and that clashing art world denizens like Richard Prince against atrocity photos is supposed to produce valuable insight. I find it disheartening that a reputable enterprise like University of Chicago Press would let such sloppy work through.
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