Another Way of Seeing by John Berger and Jean Mohr

Jean Mohr:

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John Burger:

“What are the possible relations between images and text?”

Seeing a photo out of context:

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“These experiences may tell us very little, but they are unquestionable.”

“All photographs are of the past…it can never lead to the present”

All photographs are ambiguous. All photographs have been taken out of a continuity. If the event is a public event, this continuity is history; if it is personal, the continuity, which has been broken, is a life story.”

Discontinuity always produces ambiguity. Yet often this ambiguity is not obvious, for as soon as photographs are used with words, they produce together an effect of certainty, even of dogmatic assertion.”

It is because photography has no language of its own, because it quotes rather than translates, that it is said that the camera cannot lie.”

“Utter truth is essential, and that is what stirs me when I look through the camera.” – Margaret Bourke-White

“All photographs have the status of fact.”

“Photographs can relate the particular to the general. This happens…even within a single picture. When it happens across a number of pictures, the nexus of relative affinities, contrasts and comparisons can be that much wider and more complex.”

If Each Time – photoseries by Jean Mohr

They don’t explain the images, except very loosely that they are about the reflections of an old woman.

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John Burger says of this work: “The ambiguities encountered are not an obstacle to “understanding” this work but a condition for following it…”

John Berger on narratives:

“Every narrative proposes an agreement about the unstated but assumed connections existing between events.”

“Stories walk… Every step is a stride over something not said.”

In regards to telling stories with photographs: “…it is precisely this an agreement about discontinuities which allows the listener to “enter the narration” and become part of its reflecting subject.”

“The teller becomes less present, less insistent, for he no longer employs words of his own; he speaks only through quotations, through his choice and placing of the photographs.” P287

Eisenstein’s montage of attractions: “what precedes the film-cut should attract what follows it, and vice versa”

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