The jarring reality of violent imagery provokes us with the burden of complicit guilt, stimulating us to counteract what we newly perceive as evil and glorify what we perceive as orthodox. The realism of gruesome photographs not only appeals to, but develops our sense of perception. The reality of war photography and the mainstream barrage of painful images shapes the way in which we perceive the world and its people. In Regarding the Pain of Others, Sontag captures this relationship in terms of rhetorical questioning : “Are viewers inured - or incited - to violence by the depiction of such cruelty? Is the viewer’s perception of reality eroded by the daily barrage of such images?” (Sontag, back cover). The “reality” of a photograph is grounded and rationalized into perspective by the viewer’s perception of it. Violent war imagery encumbers us into self-culpability by evoking empathetic feelings of
The jarring reality of violent imagery provokes us with the burden of complicit guilt, stimulating us to counteract what we newly perceive as evil and glorify what we perceive as orthodox. The realism of gruesome photographs not only appeals to, but develops our sense of perception. The reality of war photography and the mainstream barrage of painful images shapes the way in which we perceive the world and its people. In Regarding the Pain of Others, Sontag captures this relationship in terms of rhetorical questioning : “Are viewers inured - or incited - to violence by the depiction of such cruelty? Is the viewer’s perception of reality eroded by the daily barrage of such images?” (Sontag, back cover). The “reality” of a photograph is grounded and rationalized into perspective by the viewer’s perception of it. Violent war imagery encumbers us into self-culpability by evoking empathetic feelings of