Family photographs--snapshots and portraits, affixed to the refrigerator or displayed in gilded frames, crammed into shoeboxes or cataloged in albums--preserve ancestral history and perpetuate memories. Indeed, photography has become the family's primary means of self-representation. In Family Frames Marianne Hirsch uncovers both the deception and the power behind this visual record.
Hirsch provocatively explores the photographic conventions for constructing family relationships and discusses artistic strategies for challenging those constructions. When we capture our family photographically, we are often responding to an idealized image. Contemporary artists and writers, Hirsch shows, have exposed the gap between lived reality and a perceived ideal to witness contradictions that shape visual representations of parents and children, siblings, lovers, or extended families. Exploring fiction, "imagetexts," and photographic essays, she elucidates their subversive devices, giving particular attention to literal and metaphorical masks. While permitting false impressions and misreadings, family photos have also proved a powerful means for shaping personal and cultural memory. Hirsch highlights a striking example: the wide variety of family pictures surviving the Holocaust and the wrenching displacements of late-twentieth-century history. Whether personal treasures, artistic constructions, or museum installations, these images link private memory to collective history.
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MARIANNE HIRSCH is William Peterfied Trent Professor of English and Comparative Literature at Columbia University and Professor in the Institute for Research on Women and Gender. She is Vice-President of the Modern Language Association of America. Her current interests include cultural memory, testimony and photography. Her most recent books are Ghosts of Home: The Afterlife of Czernowitz in Jewish Memory, written with Leo Spitzer; Rites of Return: Diaspora Poetics and the Politics of Memory, co-edited with Nancy K. Miller, and The Generation of Postmemory: Writing and Visual Culture After the Holocaust. She is also the author of The Mother/Daughter Plot: Narrative Psychoanalysis, Feminism and editor or co-editor of a number of volumes, including Conflicts in Feminism, The Familial Gaze, and Teaching the Representation of the Holocaust.
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