War photography, a pervasive aspect of the militarization of everyday life, seems to work on the commonsensical premise that the world needs to know in order to be able to make proper decisions, in order to act. But what happens when war photographs age, when the events they recorded have faded into the past, when the photographs themselves can no longer count as moral or political interventions? Is this what Walter Benjamin meant by the aestheticization of politics? The Lost Rolls, by the famous war photographer Ron Haviv, deliberately and thoughtfully provokes these subversive reflections.
Bruce Robbins; Live Fire: On Ron Haviv's The Lost Rolls. boundary 2 1 November 2017; 44 (4): 15–32. doi: https://doi.org/10.1215/01903659-4206289
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