警察没有被训练去看什么:威斯康星州死亡之旅和摄影证据的盲点

IF 0.3 2区 艺术学 0 ART History of Photography Pub Date : 2021-10-02 DOI:10.1080/03087298.2022.2143099
Yechen Zhao
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引用次数: 0

摘要

迈克尔·莱西(Michael Lesy)1973年出版的《威斯康星州死亡之旅》(Wisconsin Death Trip)一书将查尔斯·范·沙克(Charles van Schaick)19世纪和20世纪初拍摄的威斯康星州黑河瀑布镇居民的照片与当地恐怖谋杀和犯罪的剪报并置。根据警察实验室协议、法医手册和判例法,我展示了Lesy的书是如何模仿同时代发展的执法技术,将照片作为证据进行展示、证明和解释的,并以此来对美国农村的死亡和疯狂做出历史性的断言。具有讽刺意味的是,这本书对这些技术的模仿造成了盲点:Lesy看不出Van Schaick的照片与该地区的土著Ho Chunk人以及他们反对美国政府强迫迁移的斗争有何实际联系。对威斯康星州死亡之旅的研究表明,对档案照片的法医方法产生的解释力是如何轻易识别错误的罪行和肇事者的。
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What the Police are Not Trained to See: Wisconsin Death Trip and the Blind Spots of Photographic Evidence
Wisconsin Death Trip, the 1973 book by Michael Lesy, juxtaposes Charles van Schaick’s nineteenth and early twentieth-century photographs of townspeople in Black River Falls, Wisconsin with local newspaper clippings of grisly murders and crimes. Drawing from police laboratory protocols, forensics manuals and case law, I show how Lesy’s book imitates contemporaneously developed law enforcement techniques for presenting, justifying and interpreting photographs as evidence, which it uses to make a historical claim about death and madness in rural America. Ironically, the book’s mimicry of these techniques creates its blind spot: Lesy is unable to see how Van Schaick’s photographs actually relate to the indigenous Ho-Chunk people of the region and their struggle against forced removal by the US government. Studying Wisconsin Death Trip demonstrates how the interpretive momentum generated by a forensic approach to archival photographs too easily identifies the wrong crimes and perpetrators.
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来源期刊
CiteScore
0.30
自引率
50.00%
发文量
23
期刊介绍: History of Photography is an international quarterly devoted to the history, practice and theory of photography. It intends to address all aspects of the medium, treating the processes, circulation, functions, and reception of photography in all its aspects, including documentary, popular and polemical work as well as fine art photography. The goal of the journal is to be inclusive and interdisciplinary in nature, welcoming all scholarly approaches, whether archival, historical, art historical, anthropological, sociological or theoretical. It is intended also to embrace world photography, ranging from Europe and the Americas to the Far East.
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