See the comment by Gideon Levy, “Mohammed al-Dura lives on,” Haaretz, October 7, 2007, →.
Martin Fletcher, “Iranian student protester Neda Soltan is Times Person of the Year,” The Sunday Times, December 26, 2009, →.
Karl Marx, “The Eighteenth Brumaire of Louis Bonaparte,” in Karl Marx, Surveys from Exile: Political Writings, vol. 2, ed. David Fernbach (Harmondsworth: Penguin, 1973), 146.
See David Schraven, “Das zweite Leben der Neda Soltani,” Süddeutsche Zeitung Magazin, no. 5 (February 5, 2010): 26–30; Siobhan Courtney, “Neda: A Case of Mistaken Identity,” BBC News (July 3, 2009), →.
Al Kamen, “Iran Apparently in Possession of Photoshop,” The Washington Post (July 11, 2008), →.
Roland Barthes, Camera Lucida: Reflections on Photography, trans. Richard Howard (New York: Hill and Wang, 1981), 65.
Ibid., 91.
Recently, the media-effective debate of the Capa photo has been based mainly on the investigations of José Manuel Susperregui in his Sombras de la fotografía: Los enigmas desvelados de Nicolasa Ugartemendia, Muerte de un miliciano, La aldea española, El Lute (Bilbao: Universidad del País Vasco, 2009).
Karl Marx, “The Civil War in France,” in Karl Marx, The First International and After: Political Writings, vol. 3, ed. David Fernbach (Harmondsworth: Penguin Classics, 1992), 206.
Gen Doy, “The Camera Against the Paris Commune,” in Illuminations: Women Writing on Photography from the 1850s to the Present, ed. Liz Heron and Val Williams (London: I. B. Tauris, 1996), 30.
Courbet to Maurice Richard, June 23, 1870, quoted in Linda Nochlin, “Courbet, the Commune, and the Visual Arts,” in Linda Nochlin, Courbet (London: Thames and Hudson, 2007), 87.
Marx, “The Civil War in France,” 212.
The fourteen “Theses on the Paris Commune” were signed by Guy Debord, Attila Kotányi, and Raoul Vaneigem on March 18, 1962. Quoted in Situationist International Anthology, ed. Ken Knabb (Berkeley: Bureau of Public Secrets, 2006), 398–401. A more epic version was undertaken by Henri Lefebvre, La Proclamation de la Commune, 26 mars 1871 (Paris: Gallimard, 1965).
See, for example, Bertrand Tillier, La Commune de Paris, révolution sans images? Politique et représentations dans la France républicaine (1871–1914) (Seyssel: Éditions Champ Vallon, 2004), 373.
See T. J. Clark, Farewell to an Idea: Episodes from a History of Modernism (New Haven and London: Yale University Press, 1999), 21.
Quoted in Janis Tomlinson, Francisco Goya y Lucientes 1746–1828 (London: Phaidon Press, 1994), 94.
“Indifference to the subject” or even “supreme indifference” was a central concept in Bataille’s 1955 essay. See Georges Bataille, Manet, trans. Austryn Wainhouse and James Emmons (New York: Rizzoli, 1983), 73.
Michel Foucault, Manet and the Object of Painting, trans. Matthew Barr (London: Tate, 2009), 38. The text is the transcription of a lecture delivered on May 20, 1971, in Tunis.
Charles Baudelaire, “The Painter of Modern Life,” in The Painter of Modern Life and Other Essays, ed. and trans. Jonathan Mayne (London: Phaidon Press, 1995), 18–21.