档案图像或表象图像  

Archive Image or Appearance-Image

作　　者： 郑博航(译) Georges Didi-Huberman;Zheng Bohang

机构地区：[1]法国社会科学高等研究院 [2]北京大学艺术学院

出　　处：《当代美术家》2022年第3期38-45,共8页Contemporary Artists

摘　　要：在2001年在巴黎展出的名为“集中营回忆录”(Mémoire des camps:Photographies des camps de concentration et d’exdermination nazis 1933-1999)的展览中,展出了四幅由行刑队(Sonderkommando)队员拍摄的照片,乔治·迪迪-于贝尔曼认为这些图像是“in spite of all”(漠视一切)的,这一看法招致了伊丽莎白·帕努克斯、杰拉德·瓦克曼与克劳德·朗兹曼等人的质疑与批评。在《档案图像或表象图像》中,于贝尔曼围绕档案图像的真实性与图像是否具有想象力,以四张照片与朗兹曼的电影《浩劫》(Shoah,1985)为例,为自己的观点展开了辩护,探讨了摄影影像作为历史见证的合法性。In the exhibition entitled“Mémoire des camps:Photographies des camps de concentration et d’exdermination nazis”,shown in Paris in 2001,four photographs taken by the members of the Sonderkommando were shown.Sonderkommando was the“special squad”of prisoners who operated the mass extermination with their bare hands.Georges Didi-Huberman considered these four photographs to be“in spite of all”,a view that has been questioned and criticized by Elisabeth Pagnoux,Gérard Wajcman and Claude Lanzmann.In the chapter“Archive-Image or Appearance-Image”,Didi-Huberman defends his views on the authenticity of archival images and whether images are imaginative,using four photographs of Sonderkommandos and Lanzmann's film Shoah(1985)as examples to explore the legitimacy of the photographic image as a witness to history.

关 键 词：档案图像 图像 乔治·迪迪-于贝尔曼 摄影 

分 类 号：J405[艺术—摄影艺术] J905