Kurt Vonnegut By Brock Shadix

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Slaughterhouse-Five ,[object Object],[object Object]

In Memory of Kurt Vonnegut ,[object Object]

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Susan Sontag Images referred to in Regarding the Pain of Others * 1. How does Sontag demonstrate the intersection of "news" art, and understanding in the contemporary depiction of war and disaster? 2. How does Sontag point out that pictures can inspire dissent, foster violence, or create apathy, evoking a long history of the representation of the pain of others? 3. According to Sontag, how has the camera transformed vision and sensibility? 4. Explain what Sontag means by: "the understanding of war among people who have not experienced war is now chiefly a product of [war photographers'] images.” 5. How does Sontag present the argument that pictures take on different meanings and interpretations based on who is doing the viewing? * 3. 4. Susan Sontag 1933 – 2004A novelist, philosopher, essayist, movie director and playwright.Her essays, which are by far her most complete aesthetic achievement, many are devoted to Film, either to single movies (like Bergman's "Persona", Godard's "Vivre sa vie", Syberberg's "Hitler, a Film from Germany", but also Chaplin's "The Dictator" and Kubrick's "Doctor Strangelove"  Longtime companion of photographer Annie Leibovitz (from the mid 1980s until Sontag's death).  MacArthur Fellow from 1990 to 1995.  2003 Peace Prize of the German Book Trade.  Honorary citizen of Sarajevo in the former Yugoslavia.  National Book Critics Circle Award for the book "On Photography" published in (1978) * “Cinema is the most alive, the most exciting, the most important of all art forms…”“Perhaps no work of art ‘is’ art. It can only ’become’ art, when it is part of the pas…”“I think it was rock & roll the reason I got divorced. I think it was Bill Haley and the Comets and Chuck Berry that made me decide to get a divorce and leave the academic world.” “The youngest of the arts is also the most heavily burdened with memory. Cinema is a time machine. Movies preserve the past, resurrect the beautifil dead; present, intact, vanished or ruined environments; enbody without ironu styles and fashions that seem funny today; solemnly ponder irrelevant or naive problems. The historical particularity of the reality registered on celluloid is so vivid that practically all films older than four or five years are saturated with pathos.”http://www.imdb.com/name/nm0814506/bio One of the distinguishing features of modern life is that it supplies countless opportunities for regarding (at a distance, through the medium of photography) horrors taking place throughout the world. Images of atrocities have become, via the little screens of the television and the computer, something of a commonplace. But are viewers inured -- or incited -- to violence by the depiction of cruelty? Is the viewer's perception of reality eroded by the daily barrage of such images? What does it mean to care about the sufferings of people in faraway zones of conflict? Her new book is a profound rethinking of the intersect ...

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