[揽瓜阁精读] 303. Photography in Europe

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Photography in Europe was largely guided by the notions of the picturesque, the important, and the beautiful. Americans, less convinced of the permanence of any basic social arrangements, experts on the “reality” of change, have more often made photography partisan. Pictures were taken not only to show what should be admired but to reveal what needs to be confronted and fixed up. American photography implies a less stable relation with history; and a relation to social reality that is both more hopeful and more predatory.

The hopeful side is exemplified in the use of photographs in America to awaken conscience. Lewis W. Hine was appointed staff photographer to the National Child Labor Committee, which was preparing to recommend legislation; his photographs of children working in mills in the 1910s helped make child labor illegal. In the case of Roy Stryker’s Farm Security Administration project, the camera was a way of “learning” about the rural poor, so the New Deal bureaucrats could figure out how to help them. But even at its most moralistic, documentary photography was always imperious in another sense. Both detached traveler’s report and the more forthright angry muckraking reflect the urge to appropriate an exotic reality. And no reality is allowed the right to resist appropriation, whether it is scandalous or beautiful or picturesque.

The predatory side of photography is at the heart of the alliance between photography and tourism. The case of the American Indians is the most brutal. Discreet, serious amateurs had been operating since the end of the Civil War; the opening wedge of an army of tourists eager for “a goal shot” of Indian life. The tourists invaded the Indians’ privacy, photographing sacred dances and places, paying the Indians to pose, and making them so self-conscious that they revised their ceremonies.

But native ceremonies that are changed by the tourists are not so different from a city scandal that is corrected because someone photographs it. In so far as the muckrakers got results, they too altered what they photographed; indeed, photographing reality was one way of altering it.

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1.        欧洲的摄影是由picturesque, the important, 和 beautiful指导的. 美国的照片更偏向党派, 照片更多讲需要改变的, 不讲历史.
2.        美国用照片来唤醒良知. Hine为儿童组织拍照, 使童工不合法化. Stryker 拍农村穷人. 但是纪实摄影还是显得很专横.
3.        摄影和旅游是同盟, 深受其害的是北美印第安土著人. 印第安人因为游客而改变自己的仪式
4.        游客们与城市丑闻没有什么不同

66011

美国摄影和欧洲摄影的不同。欧洲摄影强调摄影美学；美国摄影不仅有景色也反映现实。和历史弱联系，和有希望的和掠夺性的现实强联系
有希望的现实：通过摄影反映现实，帮助立法；帮助贫困阶级。但是纪实摄影是专横的，现实不允许抵抗挪用
掠夺性的：展现在旅游业和摄影的联合。照片展现印第安人的生活方式，入侵隐私，拍摄他们的仪式，最终仪式被修改
照片拍摄的现实是被更改。摄影确实可以改变现实

吱野

xixio

303----讲美国人拍照的两个特点，并用相关例子证明
生词：notion观念  picturesque生动的  conscience良知  imperious专横的  appropriation盗用  brutal野蛮的
Photography in Europe: picturesque, important, beautiful
In America: partisan
==Picture---to show what to be admired+ to reveal what needs to be confronted and fixed up
==American photography---less stable relation with history---a relation to social reality (more hopeful and predatory)
-----细讲the hopeful side-----
The hopeful side: used in awaken conscience (example: LW.H---make child labor illegal; RS---how to help the poor) ---but always imperious in another sense---allowed appropriation
----细讲the predatory side----
At the heart of the alliance between photography and tourism (the American Indians (the most brutal) ---the tourists invaded the Indian’s privacy---Indians changed their ceremonies)

Indeed, photographing reality was one way to altering it

xrrrrrr

303.
1.欧洲摄影和美国摄影的区别
欧洲摄影重要、美丽为指导。美国人是reality变革的专家，通常让摄影变得partisan。照片不仅是为了展示值得欣赏的事物，也要揭示需要面对和解决的问题。美国摄影和历史的关系不是很稳定，和社会现实的关系既hopeful又predatory
2.Hopeful的一面是利用美国的摄影唤醒意识。LW在1910s的摄影推动了童工非法化。RS的案例中，相机是一种了解农村贫困的方式，因此可以指出怎么开展帮助。但即使是在最道德的时候，摄影在另一种意义上也是专横的。
3.Predatory的一面是摄影和旅游的协调。印第安人是最残酷的例子。旅游侵占了印第安人的隐私，修改了他们的仪式。
4.旅游改变原住民仪式和摄影修正城市丑闻没有什么不同。只要muckrakers取得了成功，他们会改变他们拍摄的内容，事实上拍摄现实也是改变现实的一种方式。

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P1：
欧洲的摄影受到picturesque, the important, and the beautiful的指引。美国摄影的特点：党派化；与历史的关系不太稳定；与社会现实有希望&具有掠夺性。
P2:
Hopeful：awaken conscience。两个例子：童工和rural poor
P3：
Predatory：摄影和旅游业。例子：American indians
P4：拍摄现实是改变现实的一种方式。


mill磨坊、工厂
imperious专横的
detached超然客观、毫不关心的
brutal残忍的
scandal 丑闻

Belle瑄

照片的作用
Photography in Europe was largely guided by the notions of the picturesque, the important, and the beautiful. 照片的准则 景色重要美丽的 Americans, less convinced of the permanence of any basic social arrangements, experts on the “reality” of change, have more often made photography partisan.美国人是现实派的支持者 Pictures were taken not only to show what should be admired but to reveal what needs to be confronted and fixed up. 照片目的 揭露需要面对和修正的东西 American photography implies a less stable relation with history; and a relation to social reality that is both more hopeful and more predatory.
美国照片揭示hopeful和predatory的社会现实
The hopeful side is exemplified in the use of photographs in America to awaken conscience. hopeful体现在美国使用照片去唤醒上 Lewis W. Hine was appointed staff photographer to the National Child Labor Committee, which was preparing to recommend legislation; his photographs of children working in mills in the 1910s helped make child labor illegal. In the case of Roy Stryker’s Farm Security Administration project, the camera was a way of “learning” about the rural poor, so the New Deal bureaucrats could figure out how to help them. 帮助孩子和贫困乡村的例子。But even at its most moralistic, documentary photography was always imperious in another sense. Both detached traveler’s report and the more forthright angry muckraking reflect the urge to appropriate an exotic reality. And no reality is allowed the right to resist appropriation, whether it is scandalous or beautiful or picturesque.
eg1：拍mill干活的小孩→反对童工。eg2：拍rural poor→改善农村生存环境。
BUT，imperious。不允许resist appropriation。
旅行报道和直率丑闻反映了人们对适应异域的现实的急迫。没有社会允许抵制这种侵占无论丑闻的还是美好的
The predatory side of photography is at the heart of the alliance between photography and tourism. The case of the American Indians is the most brutal. Discreet, serious amateurs had been operating since the end of the Civil War; the opening wedge of an army of tourists eager for “a goal shot” of Indian life. The tourists invaded the Indians’ privacy, photographing sacred dances and places, paying the Indians to pose, and making them so self-conscious that they revised their ceremonies.
p的一面是图片和旅游业的中心联合点 。印第安的事迹最野蛮，自内战结束以来，谨慎、严肃的业余爱好者一直在工作；渴望印度人生活“一球”的游客大军的开端。旅游者侵犯印第安人隐私，拍赤裸的舞蹈和地方，让他们如此难为情，所以修改了他们的仪式。

分别阐述h和p的两面

But native ceremonies that are changed by the tourists are not so different from a city scandal that is corrected because someone photographs it. In so far as the muckrakers got results, they too altered what they photographed; indeed, photographing reality was one way of altering it.
转折承接 仪式被改变和由于抓拍得到的城市丑闻没什么区别，因为有些人拍过。

至于揭发丑闻者得到的结果，他们也改变了他们所拍摄的东西；事实上，拍摄现实是改变它的一种方式。不论是拍印第安人还是揭露丑闻，摄影现实是改变现实的一种方式