Shawn Michelle Smith

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Shawn Michelle Smith



Average rating: 4.05 · 174 ratings · 18 reviews · 14 distinct works
Lynching Photographs (Volum...

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4.11 avg rating — 38 ratings — published 2007 — 4 editions
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Photography on the Color Li...

4.17 avg rating — 36 ratings — published 2004 — 9 editions
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Pictures and Progress: Earl...

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4.57 avg rating — 28 ratings — published 2012 — 7 editions
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American Archives: Gender, ...

3.65 avg rating — 31 ratings — published 1999 — 4 editions
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At the Edge of Sight: Photo...

3.75 avg rating — 16 ratings — published 2013 — 5 editions
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Photography and the Optical...

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4.23 avg rating — 13 ratings3 editions
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Photographic Returns: Racia...

3.88 avg rating — 8 ratings3 editions
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Next to the Color Line: Gen...

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4.40 avg rating — 5 ratings — published 2007 — 5 editions
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Cynthia Carr. Our Town: A H...

0.00 avg rating — 0 ratings
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Photography on the Color Li...

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Quotes by Shawn Michelle Smith  (?)
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“Freud proposes that the relation of unconscious memories to conscious perception is like that of the negative to the photographic print: "It has long since become common knowledge that the experience of the first five years of childhood exert a decisive influence on our life. ... The process may be compared to a photograph, which can be developed and made into a picture after a short or long interval." The powerful force of early childhood experiences remains latent and inaccessible, just as a negative can remain unprocessed for a long period of time before being made into a positive print.”
Shawn Michelle Smith, Photography and the Optical Unconscious

“His (Benjamin's) dialectical image, like the stereoscopic image, is not part of the phenomenal world, but an image that is activated by present readers gazing upon the past. Again, it is not something that is directly perceptible (not reproducible), but only emerges in the imaginative interaction between reader and text.”
Shawn Michelle Smith, Photography and the Optical Unconscious

“photography can help us to grasp. The camera can capture scenes that pass too quickly, too remotely, or too obscurely for the subject to consciously perceive. By enlarging details, or by slowing down or stopping time, the camera pictures phenomena that the viewer has encountered and unconsciously registered but not consciously processed. This sense of the optical unconscious is not about making latent memory traces visible, however, but rather demonstrating the reach and complexity of unconscious perception,”
Shawn Michelle Smith, Photography and the Optical Unconscious



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