[Hirsch] contemplates the relationships among images, family life,
memory, lost memory and memory across generations--or "postmemory"
as she calls it. For her, photographs and other images are
talismans, clues and building blocks of meaning. There are no
innocent snapshots for her; all recording is action fraught with
political and social implication.--Pat Aufderheide "Women's Review
of Books "
Marianne Hirsch's "Family Frames" offer[s] complex and useful new
ways to understand our desire for and mediation of memory and
history.--Martin Sturken "Afterimage "
Marianne Hirsch's new book, "Family Frames", looks at family
photographs in literature and culture. Although its critical gaze
ranges quite broadly--touching upon most of the writers,
photographers, and critics who have been centrally concerned with
family photography--the book begins and ends by considering family
photos in relation to the Holocaust. This nonstandard frame for the
subject puts both photography and the family into bold, new
relief...This is not a cool, calm book, perfectly synthesizing
nostalgia and critique. This is a brave, strong, struggling book,
honest in letting us see an unflattering image of the critic. She
combines what is seldom seen together: a feminist critique of the
family as "haven in a heartless world" with a loving daughter's
sensitivity to her Holocaust survivor parents' need to conserve a
family threatened with radical loss.--Jane Gallop "Visual Resources
"
ÝHirsch¨ contemplates the relationships among images, family life,
memory, lost memory and memory across generations--or "postmemory"
as she calls it. For her, photographs and other images are
talismans, clues and building blocks of meaning. There are no
innocent snapshots for her; all recording is action fraught with
political and social implication. -- Pat Aufderheide "Women's
Review of Books"
Marianne Hirsch's "Family Frames" offerÝs¨ complex and useful new
ways to understand our desire for and mediation of memory and
history. -- Martin Sturken "Afterimage"
Marianne Hirsch's new book, "Family Frames," looks at family
photographs in literature and culture. Although its critical gaze
ranges quite broadly--touching upon most of the writers,
photographers, and critics who have been centrally concerned with
family photography--the book begins and ends by considering family
photos in relation to the Holocaust. This nonstandard frame for the
subject puts both photography and the family into bold, new
relief...This is not a cool, calm book, perfectly synthesizing
nostalgia and critique. This is a brave, strong, struggling book,
honest in letting us see an unflattering image of the critic. She
combines what is seldom seen together: a feminist critique of the
family as "haven in a heartless world" with a loving daughter's
sensitivity to her Holocaust survivor parents' need to conserve a
family threatened with radical loss. -- Jane Gallop "Visual
Resources"
Marianne Hirsch's new book, "Family Frames, looks at family
photographs in literature and culture. Although its critical gaze
ranges quite broadly--touching upon most of the writers,
photographers, and critics who have been centrally concerned with
family photography--the book begins and ends by considering family
photos in relation to the Holocaust. This nonstandard frame for the
subject puts both photography and the family into bold, new
relief...This is not a cool, calm book, perfectly synthesizing
nostalgia and critique. This is a brave, strong, struggling book,
honest in letting us see an unflattering image of the critic. She
combines what is seldom seen together: a feminist critique of the
family as "haven in a heartless world" with a loving daughter's
sensitivity to her Holocaust survivor parents' need to conserve a
family threatened with radical loss.
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