By Thomas Stubblefield
The day the towers fell, indelible photographs of plummeting rubble, fireplace, and falling our bodies have been imprinted within the stories of individuals worldwide. 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. even though the cave in of the realm exchange middle used to be "the so much photographed catastrophe in history," it didn't yield a unmarried noteworthy snapshot of carnage. Thomas Stubblefield argues that the absence inside of those brilliant photos is the anomaly of September 11 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 artwork Spiegelman's approximately clean New Yorker disguise, and from the removing of the dual Towers from tv exhibits and flicks to the huge cavities of Michael Arad's Sept. 11 memorial, the void turned the visible shorthand for the incident. by way of reading configurations of invisibility and erasure around the media of images, movie, monuments, photo novels, and electronic illustration, Stubblefield translates the post-9/11 presence of absence because the reaffirmation of nationwide id that implicitly laid the basis for the approaching invasions of Iraq and Afghanistan.
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Extra resources for 9/11 and the Visual Culture of Disaster
9/11 and the Visual Culture of Disaster by Thomas Stubblefield