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American Color 2
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Críticas Marianne Hirsch's new book Family Frames looks at family photographs in literature and culture. Although its critical gaze ranges quite broadly--touching upon most of the writers photographers and critics who have been centrally concerned with family photography--the book begins and ends by considering family photos in relation to the Holocaust. This nonstandard frame for the subject puts both photography and the family into bold new relief...This is not a cool calm book perfectly synthesizing nostalgia and critique. This is a brave strong struggling book honest in letting us see an unflattering image of the critic. She combines what is seldom seen together: a feminist critique of the family as haven in a heartless world with a loving daughter's sensitivity to her Holocaust survivor parents' need to conserve a family threatened with radical loss.Marianne Hirsch's Family Frames offerÝs¨ complex and useful new ways to understand our desire for and mediation of memory and history. -- Martin Sturken AfterimageÝHirsch¨ contemplates the relationships among images family life memory lost memory and memory across generations--or postmemory as she calls it. For her photographs and other images are talismans clues and building blocks of meaning. There are no innocent snapshots for her; all recording is action fraught with political and social implication. -- Pat Aufderheide Women's Review of BooksMarianne Hirsch's new book Family Frames looks at family photographs in literature and culture. Although its critical gaze ranges quite broadly--touching upon most of the writers photographers and critics who have been centrally concerned with family photography--the book begins and ends by considering family photos in relation to the Holocaust. This nonstandard frame for the subject puts both photography and the family into bold new relief...This is not a cool calm book perfectly synthesizing nostalgia and critique. This is a brave strong struggling book honest in letting us see an unflattering image of the critic. She combines what is seldom seen together: a feminist critique of the family as haven in a heartless world with a loving daughter's sensitivity to her Holocaust survivor parents' need to conserve a family threatened with radical loss. -- Jane Gallop Visual ResourcesMarianne Hirsch's new book Family Frames looks at family photographs in literature and culture. Although its critical gaze ranges quite broadly--touching upon most of the writers photographers and critics who have been centrally concerned with family photography--the book begins and ends by considering family photos in relation to the Holocaust. This nonstandard frame for the subject puts both photography and the family into bold new relief...This is not a cool calm book perfectly synthesizing nostalgia and critique. This is a brave strong struggling book honest in letting us see an unflattering image of the critic. She combines what is seldom seen together: a feminist critique of the family as haven in a heartless world with a loving daughter's sensitivity to her Holocaust survivor parents' need to conserve a family threatened with radical loss.--Jane Gallop Visual Resources Marianne Hirsch's Family Frames offer[s] complex and useful new ways to understand our desire for and mediation of memory and history.--Martin Sturken Afterimage [Hirsch] contemplates the relationships among images family life memory lost memory and memory across generations--or postmemory as she calls it. For her photographs and other images are talismans clues and building blocks of meaning. There are no innocent snapshots for her; all recording is action fraught with political and social implication.--Pat Aufderheide Women's Review of Books Reseña del editor Family photographs – snapshots and portraits affixed to the refrigerator or displayed in gilded frames crammed into shoeboxes or catalogued in albums – preserve ancestral history and perpetuate memories. Indeed photography has become the family’s primary instrument of self-representation. In Family Frames Marianne Hirsch uncovers both the deception and the power behind this visual record. Hirsch provocatively explores the photographic conventions for constructing family relationships and discusses artistic strategies for challenging these constructions. When we capture our family photographically we are often responding to an idealized image. Contemporary artists and writers Hirsch shows have exposed the gap between lived reality and a perceived ideal to witness contradictions that shape visual representations of parents and children siblings lovers and extended families. This book exposes the passions and rivalries the tensions and anxieties that have for the most part remained on the edges or outside family albums. And it also permits us to appreciate the power of family photographs and the important role they have assumed in shaping personal and cultural memory particularly through the traumatic dislocations of the post-war and post- Holocaust moment. Family Frames offers both a theoretical analysis and a passionate exploration of photographs. All who cherish family pictures now have a new frame for viewing them. Biografía del autor MARIANNE HIRSCH is William Peterfied Trent Professor of English and Comparative Literature at Columbia University and Professor in the Institute for Research on Women and Gender. She is Vice-President of the Modern Language Association of America. Her current interests include cultural memory testimony and photography. Her most recent books are Ghosts of Home: The Afterlife of Czernowitz in Jewish Memory written with Leo Spitzer; Rites of Return: Diaspora Poetics and the Politics of Memory co-edited with Nancy K. Miller and The Generation of Postmemory: Writing and Visual Culture After the Holocaust. She is also the author of The Mother/Daughter Plot: Narrative Psychoanalysis Feminism and editor or co-editor of a number of volumes including Conflicts in Feminism The Familial Gaze and Teaching the Representation of the Holocaust.
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