Like the collector, the photographer is animated by a passion that, even when it appears to be for the present, is linked to a sense of the past.
Susan SontagRead
The two ideas are antithetical. Insofar as photography is (or should be) about the world, the photographer counts for little, but insofar as it is the instrument of intrepid, questioning subjectivity, the photographer is all.
Interpretation
This quote emphasizes the contrasting roles of the photographer as both a mere recorder of reality and a subjective interpreter of it.
Susan Sontag highlights the dual nature of photography: on one hand, it can simply depict the world objectively, where the photographer's presence is nearly irrelevant. On the other hand, photography can serve as a tool for personal expression, where the individual perspective of the photographer becomes essential and influential, reflecting their unique vision and insights.
In practice
During a photography exhibition, I might quote Sontag to discuss the role of the photographer.
Like the collector, the photographer is animated by a passion that, even when it appears to be for the present, is linked to a sense of the past.
Science fiction films are not about science. They are about disaster, which is one of the oldest subjects of art.
Gide and I have attained such perfect intellectual communion that I experience the appropriate labor pains for every thought he gives birth to!
Volume depends precisely on the writer's having been able to sit in a room every day, year after year, alone.
In NY sensuality completely turns into sexuality - no objects for the senses to respond to, no beautiful river, houses, people. Awful smells of the street, and dirt... Nothing except eating, if that, and the frenzy of the bed.
It hurts to love. It's like giving yourself to be flayed and knowing that at any moment the other person may just walk off with your skin.
My message behind this album was finding the beauty in imperfection.
Looking back now, if I went to film school, it probably would have helped knowing what the best of the best of foreign films were, but that wasn't the case. In some ways, I think that led to my originality, because I hadn't seen anybody else.
When I was a little boy, I was reading Dante and I was saying to myself 'Bravo, Dante, Bravo.' It's so beautiful, the music, the sound, the meaning. I felt like calling him by phone, like a friend.
I loved doing 'Pennies from Heaven.' Because you have to understand that I'd been doing comedy for 15 to 20 years, and suddenly along came the opportunity to do this beautiful film. It was so emotional to me. I loved it. I don't think it was a good career move, but I have no regrets about doing it.
All my big mistakes are when I try to second-guess or please an audience. My work is always stronger when I get very selfish about it.
In film, you have to let go sometimes.
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