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Introduction: The Ethics of the Image: Historical Events, Practice, Media
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Journal Article
Introduction: The Ethics of the Image: Historical Events, Practice, Media
2019
Overview
[...]each of them delineates different historical moments or events that have inspired, even required, ethical responses; accordingly, we have arranged them by following the historical chronology of events: beginning with the years 1943/1949 and the being-caught between ideology of German victimhood and defeat in World War II (Weber); the 1986 nuclear disaster in Chernobyl and its resonance in East Germany and beyond, leading to a revival of an inter-arts book two decades later (Eigler); and the rise of populist and xenophobic politics in Central Europe around 2000, which sought legitimacy by making the influx of refugees a central theme (Tautz). First and foremost, Weber’s contribution reconstructs the circumstances that led to the creation and circulation of an iconic World War II image; from the outset, it was meant to capture the devastating impact that allied bombings had on Nazi-Germany. [...]Fischer’s Cologne tour was part of a propaganda campaign directed by Joseph Goebbels; the image of the old woman had already been disseminated on leaflets in 1944, condemning the Allied bombardments as war atrocities. [...]Poet re-creates an image of a sovereign, domineering artist and restores an image of art as unified messaging that undermines performance’s potential, while unleashing images and their empathetic work that run the whole gamut of ethical response, from good to bad.
