Making visible, making strange: photography and representation in Kracauer, Brecht and Benjamin
Giles traces the aesthetics of photography in Kracauer’s ‘Die Photographie’ (1927) - photography’s mimetic realism suggests it cannot be art, but Kracauer implies that photography can be redeemed for the purposes of Art and History, making it a radically anti-mimetic medium. This almost contradictory position, Giles suggests, offers a Marxist aesthetics of photography, between Expressionism and Formalism, and similar to Adorno, anticipating Brecht and Benjamin.
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