engleski

The Camera Strikes Back: The Emancipated Spectator and Amateur Footage

I contrast Farocki’s film to today’s new media fragmentary image (automatic image, error- image, image without context, discontinuous image) and the spectator (the anonymous author/viewer) as a framework by which we can establish the emancipatory practices of image- making today. I conduct the analysis on two case studies: the first compares dominant media (state and privately owned) representation of the “refugee crisis” versus the “found footage” in the border regions between Croatia and Bosnia and Herzegovina, and the other looks at one violent act caught on smartphone). I claim such “subjective” visual traces can have their productive and emancipatory reading precisely because they are fragmentary (heterogeneous).

emancipation, ranciere, fast, visual culture

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