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'Location, not identity': The Politics of Revelation in Ronit Matalon's The One Facing Us
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'Location, not identity': The Politics of Revelation in Ronit Matalon's The One Facing Us
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Journal Article
'Location, not identity': The Politics of Revelation in Ronit Matalon's The One Facing Us
2010
Overview
The fact that Esther's story is told in confrontation with the photographs lends fluidity to the characters' identities. Because there is a gap between visual representation and the verbal-narrative plane, the photos do not allow character to be fixed. The very act of photography, the moment it takes place, is an identity-building moment (for the demanding Boucherat, the restrained Sicourelle, and the rebellioussubmissive child). [...]exposure of the conditions under which the picture is taken (and the mechanism of photography) also exposes the way these identifying features-unique each time a photo is snapped-are produced. According to the logic of the novel, if the aura was lost during the photographic process, it is possible to restore it by returning to the mechanism of its destruction: to find the place where it might have been constructed differently, and the aura saved or reconstructed. [...]with Benjamin, for whom the cult exists and blurs the political, in Matalon the return of revelation in the photo portrait, along with its aura, not only does not obscure the political aspect, but also returns the aura to ritual through photography, through reproduction, paradoxically via the film itself. Because what is photographed-the face-marks the return of the unique revelation, but also a political moment.
Publisher
Indiana University Press
Subject
