Sally Mann’s photographic work has received both reverence and controversy, most notably her book Immediate Family (1994), which contains nude and suggestive photographs of her three children, has also sparked overwhelming critical discussions and speculation, whilst challenging the prevailing concepts of family and childhood in the United States. Produced immediately after the Reagan revolution, which reinstated family values and a more conventional moral sensibility as vital to the framework of public policy (Berlant, 1997, p. 7), Mann’s work has resulted in her immersed into debates surrounding child pornography, the inversion of familial relationships, motherhood, and conveying a complex notion of the maternal gaze.
Hélène Cixous states that “binary oppositions underline most of Western [philosophical] thought” e.g. male/female, active/passive, natural/unnatural, logical/emotional (Conley, 2000, p.148) which have the effect of forming a set of standardised values within patriarchal society. Conversely, Immediate Family moves towards a state where what is traditionally considered antipodal co-exists, where neither is repressed, and offers an alternatively paradigmatic relationship between binary opposites. In addition to this, by considering Mann's work in terms of Cixous's understanding of the Freudian concept of the Uncanny, a more fluid and permeable reading of Immediate Family can be produced. The Uncanny is characterised by a strangeness that "uncovers what is hidden (anxiety) and by doing so, effects a disturbing transformation of the familiar into the unfamiliar'' (Jackson, 1981, p.65), resulting in an inability to decipher what is considered to be 'real' and what is thought to be 'imaginary'. Mann is known for ten...
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... is ultimately the girl’s subversion of the border dividing life and death. The familiar becomes dauntingly unfamiliar, as with “dreams that slip past our perceptual defences triggering a response but never quite revealing their meaning” (Williams and Newton, 2007, p.207). Subsequently, this expresses a blurring of boundaries and embodies the notion of metamorphosis where divisions cease to be defined. The animation/inactivity duality of the body defies the binary opposites of 'rational' thinking, and in doing so, introduces the Uncanny into this photograph. The more one analyses and observes this photograph, the more it constantly shifts across the prescribed boundaries of illusion and reality, often entering controversial areas. “Winter Squash” demonstrates how Mann takes the viewer from a visual affirmation of childhood and youth, to an inherent fear of death.
In the great tradition of classical art, nudity and death have been two main themes of the masters. Sally Mann’s photographs twist this tradition when the nudes are her prepubescent children and the corpses are real people. The issue is that her photographs are a lens into unfiltered actuality, and consumers question the morality of the images based on the fact that children and corpses are unable to give legal consent. Her work feels too personal and too private. Mainly, people question whether or not Mann meant to cause an uproar with her work or if the results were completely unintentional. After looking through what Sally Mann herself has said, it can be determined that both options have a grain of truth. She wanted to provoke thought,
Photographs capture the essence of a moment because the truth shown in an image cannot be questioned. In her novel, The Lovely Bones, Alice Sebold uses the language of rhetoric to liberate Abigail from the façade of being a mother and spouse in a picture taken by her daughter, Susie. On the morning of her eleventh birthday, Susie, awake before the rest of the family, discovers her unwrapped birthday present, an instamatic camera, and finds her mother alone in the backyard. The significance of this scene is that it starts the author’s challenge of the false utopia of suburbia in the novel, particularly, the role of women in it.
The concept of the uncanny can be a difficult one to comprehend; this is why Freud begins his essay with an analysis of the different definitions of the uncanny in various languages. Ultimately Freud rests that the German terms “heimlich” and “unheimlich” best match the definition of the uncanny because it is translated as familiar and unfamiliar. The uncanny can be defined as something that creates a feeling of familiarity but also unfamiliarity, and this unfamiliarity is what is fearful to the individual. Freud’s essay “The Uncanny” can be related to the field of literary criticism because he explains how the feeling of the uncanny relates to the author’s attempt to convey a certain response from their audience. This type of analysis bridges Freud’s work and Larsen’s novel in order to re-examine and debate certain moments in Passing that after a second look can be defined as uncanny. Passing is a short novel that centers on two mixed women who reunite in their adult lives and describe how they are trying to “pass” as white to society. Clare’s motive for passing is so that she can live a luxurious life with her white husband who is extremely racist. Whereas Irene is trying to pass when she goes out in society, her husband Brian is fully aware and is a black doctor. Irene and Clare’s childhoods and pasts are vague which allows there to be room for psychoanalysis, particularly with the character Irene and her feelings towards Clare. Through psychoanalytical criticism of the uncanny moments that occur in Larsen’s novel Passing build tension between Irene and Clare and it is argued that Irene pushed Clare from the window that caused her death in order for Irene to keep her secure life with her husband.
First, the scene in the image was manipulated through stage-managing, a common practice in photojournalism. While the image of the migrant mother, Florence Thompson, appears to the viewer to be a genuine and unprompted look at the hardship and deprivation of a dejected migrant woman. This, of course, was the reality of Ms. Thompson’s personal situation at the time. But the scene itself was micromanaged to appear in a lucid and vivid form in the image, including editing Ms. Thompson’s older children from the image to create the more poignant scene of a mother holding a small child and using a pose in which the woman is looking out into the distance, with the two children told to lo...
Contemporary Psychology, 36, 575-577. Freud, S. (1961). The Species of the World. The Complete Works of Sigmund Freud. London: The Hogarths.
In the novel Frankenstein, the author, Mary Shelley writes about a scientist named Victor Frankenstein who brings to life a human- like creature. Viewing this book through a psychoanalytic lens uncovers the many layers that make up this text and the characters. The psychoanalytic theory deals with a person’s underlying desire, most famously, the oedipal complex. The oedipal complex is the belief that all people possess the desire to partake in affectionate relations with a parent of the opposite sex. In Frankenstein, Shelley uses Victors conscious and subconscious to suggest that Victor possesses the oedipal complex, and that he feels intense guilt for the monster that he has brought to life.
In Shirley Jackson's novel "The Haunting of Hill House", there are numerous traces of the representation of the uncanny which was suggested by Sigmund Freud. In the story, the Hill House itself is an uncanny figure to the central protagonist, Eleanor, as it features as her mother which has an ambivalent nature as the meaning of the German word of `uncanny' itself. Moreover, the house also acts as a mirror reflecting her own image so that she can see herself by looking at the house, thus the house is actually an allegory of Eleanor's psychological condition and she is literally consumed by it in the end as the boundary between her and the house collapses. Besides, another protagonist, Theodora, is a double of Eleanor as she figures her opposite side which is her denied self and self-destructiveness while she also expresses the repressed feelings of Eleanor. These examples match with the concept of the uncanny which stresses on the uncanny effect of the `Doubling' and `Infantile complexes' . (Alison 32)
Traister, Rebecca. A. "Fathers Should Not Exploit Their Daughters' Sexuality." Is Childhood Becoming Too Sexualized? Olivia Ferguson and Hayley Mitchell Haugen. Detroit: Greenhaven Press, 2010.
Whereas men had a so-called “head-start” with painting and sculpture, photography was pioneered by and equally associated with both genders. Sexualized images of women circulated via mass media. Described as a voyeuristic medium, photography was a powerful tool in deconstructing the male gaze and bringing private moments into the public domain (Bonney 1985: 11).
Freud, Sigumund. "The Uncanny." Literary Theory: An Anthology. Ed. by Julie Rivkin and Michael Ryan. New York: Blackwell, 1998.
Barry, Peter. "Psychoanalytic criticism." Beginning Theory: an Introduction to Literary and Cultural Theory. 3rd ed. Manchester: Manchester UP, 2009. 92-115. Print.
When I saw Vermeer's Girl with a Pearl Earring about five years ago at the National Gallery in Washington, D.C., I felt something about the painting that I had never felt before when looking at artwork. I felt as if this girl, this young woman in the painting was real, hiding in the museum behind this canvas. She was in the flesh. Her skin was still dewy from three hundred-something years ago, the light across her face still glowing. She was in the round, her eyes followed mine, she was real. She was about to speak, she was in a moment of thought, she was in reflection. This girl was not crimson red or titanium white, she was flesh. Vermeer caught her, a butterfly in his hand. She was not just recorded on canvas, she was created on canvas. She was caught in a moment of stillness. Vermeer creates moments in his paintings. When viewing them, we step into a private, intimate setting, a story. Always, everything is quiet and calm. I realize now it is no wonder I had such a strong reaction to Vermeer the first time I saw him: he is a stillness seeker.
The term Electra complex which according to Freud is ‘feminine Oedipus attitude’ is for the first time coined by C. G. Jung as ‘Electra complex’. This term refers to “a type of arrested development in an older female child or woman, in which the daughter adulates the father and scorns the mother” (Swiontkowski 31) for she lacks a penis which is a phallus, a symbol of power and authority. While Freud sees the complex from anatomical and sexual point of view, Jung sees it from symbolic point of view where biological father is often absent. If we read the poems identified with the Electra complex written by Anne Sexton and Sylvia Plath, we will notice that both the poets represent an imaginary image of the fathers to symbolize patriarchal power what they want to gain not to see their position as victim in the patriarchal social structure any more. Gale Swiontkowski clearly points out why a daughter shows her excessive psychological attachment towards her father and denying her mother. She
The aim of this essay is to clarify the basic principles of Freud’s theories and to raise the main issues.
In the novel The Uncanny by Sigmund Freud he speaks of the term uncanny and what it means. Freud begins to explain what is the cause of the uncanny and its three major effects. He claims that the cause of this is an terrifying action or event that triggers a person's memory to return to a long familiar memory. One of the three major effects it has on people would be repetition compulsion. The second effect would be repressed impulses which is where an individual directs their desires and impulses towards pleasurable instincts by excluding the desire of consciousness and holding or subduing it while unconscious of it. The third effect would be the double, which is state when a child sees multiple versions of themselves. In this essay I will