9/11 and the Visual Culture of Disaster by Thomas Stubblefield

By Thomas Stubblefield

The day the towers fell, indelible pictures of plummeting rubble, hearth, and falling our bodies have been imprinted within the thoughts of individuals around the globe. photographs that have been stuck within the media loop after the catastrophe and insurance of the assault, its aftermath, and the wars that mirrored a pervasive tendency to regard those tragic occasions as spectacle. although the cave in of the area exchange middle was once "the such a lot photographed catastrophe in history," it didn't yield a unmarried noteworthy photograph of carnage. Thomas Stubblefield argues that the absence inside those stunning pictures is the anomaly of 11th of September visible tradition, which foregrounds the visible event because it obscures the development in absence, erasure, and invisibility. From the spectral presence of the Tribute in gentle to paintings Spiegelman's approximately clean New Yorker conceal, and from the removal of the dual Towers from tv exhibits and movies to the enormous cavities of Michael Arad's 9-11 memorial, the void grew to become the visible shorthand for the incident. via analyzing configurations of invisibility and erasure around the media of images, movie, monuments, photograph novels, and electronic illustration, Stubblefield translates the post-9/11 presence of absence because the reaffirmation of nationwide id that implicitly laid the foundation for the upcoming invasions of Iraq and Afghanistan.

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