Gerade in Don McCullins Bild wird j

Gerade in Don McCullins Bild wird jedoch anders als bei Dayna Smith und Hocine
weniger die zurückgenommene Trauer als die Dramatik betont. Leicht aus dem Bildzentrum nach links gerückt sehen wir eine Frau, deren verzerrter Gesichtsausdruck und deren ringende Hände als Ausdruck ihres Schmerzes und ihrer Verzweiflung zu lesen sind. Sie wird von zwei Frauen gehalten, während ein kleiner Junge, dessen Mimik ebenfalls von Verzweiflung zeugt, seinen linken Arm nach ihr ausstreckt und ihre Hände berührt.
Im Hintergrund sind weitere Personen zu erkennen, unter ihnen eine weitere weinende
Frau, die ein Kind auf dem Arm hält, sowie mehrere Personen, die eher als Beobachter der Szene erscheinen. Auch wenn die trauernde Frau leicht aus dem Bildzentrum nach links versetzt erscheint, so lässt sie sich doch als eine Gebärdefigur 302 begreifen, deren bildzentrale Dominanz charakteristisch für eine auf affektive Werte ausgerichtete Bildsprache ist. Über ihre Körperhaltung, Gestik und ihren Gesichtsausdruck verkörpern solche Figuren gleichsam an ihrem Körper bestimmte, über den konkreten Kontext hinausgehende, symbolische Bedeutungen und werden wie in McCullins Fotografie zur Verkörperung einer Emotion.
Die Pathosformel der weiblichen Gebärdefigur, die im Gegensatz zur Marienikonografie
statt stiller Trauer einen dramatischen Gestus der Verzweiflung zum Ausdruck
bringt, findet sich pointiert in einer Fotografie Micha Bar Ams, die er nach dem Massaker
an 1.500 Palästinensern am 16. September 1982 im Flüchtlingslager in Sabra und Shatila
aufgenommen hat (Abb. 18). Im Bildzentrum ist eine kopftuchtragende Frau zu erkennen,
die beide Arme in dramatischer Geste weit ausstreckt. Ihr Gesicht ist schmerzverzerrt, der
Mund weit geöffnet, die Augen halb geschlossen. In dieser Gestik des Entsetzens vermitteln sich der Schock und das Leid als eine emotionale Symbolik, die durch das Evozieren einer synästhetischen Wahrnehmung noch verstärkt wird. Der geöffnete Mund verweist synästhetisch auf das klagende Weinen oder Schreien der Trauernden. Ähnlich funktioniert dies in Edvard Munchs berühmtem Gemälde ‚Der Schrei‘ von 1893 (Abb. 19), das über das Entsetzen der Gebärde und die emotionale Symbolik wie kaum ein anderes Gemälde der Kunstgeschichte das Phänomen der Angst und Verzweiflung so unmittelbar zum Ausdruck gebracht hat.

Ergebnisse (Englisch) 1:

In Don McCullins image is different, though, as Dayna Smith and Hocineless stressed the restrained grief as the drama. Easily moved from the center of the image to the left we see a woman whose distorted face und their struggling hands as an expression of their pain and desperation are to read. It is held by two women, while a young boy, whose miming also testifies to despair, extending his left arm after her and touched her hands. In the background are other people to recognize, among them a more cryingWoman holding a child in her arms, as well as several people who appear more as an observer of the scene. Even though the grieving wife appears slightly offset to the left from the center of the image, so it can be but realize as a gesture figure 302, whose image Central Dominanz is characteristic for a language aimed at affective values. About their posture, gesture, and facial expression, such figures embody certain, beyond the specific context, symbolic meanings as it were on her body and become the embodiment of emotion as in McCullins photography.The pathos formula of the female figure of the gesture, in contrast to the Marienikonografieinstead of quiet mourning a dramatic gesture of despair expressedAfter he brings, Micha Bar Ams, is pointedly in a photograph that the massacreof 1,500 Palestinians on September 16, 1982 in Sabra and Shatila refugee camprecorded (fig. 18). In the center of the image is to recognize that a headscarf-wearing womanfar extending both arms in a dramatic gesture. Her face is schmerzverzerrt, theMouth wide open, half-closed eyes. The shock and sorrow as an emotional symbolism, which is further enhanced by the evoke of a Synaesthetic perception convey in this gesture of horror. The open mouth synaesthetically refers to the plaintive crying or screaming of mourners. Like this works in Edvard Munchs's famous painting ' the scream 1893 (fig. 19), that immediately brought the phenomenon of fear and despair art history about the horror of the gesture and the emotional symbolism like hardly another painting to the expression.

Ergebnisse (Englisch) 2:

Especially in Don McCullins image but unlike Dayna Smith and Hocine
less emphasizes the redeemed grief than the drama. Slightly off the center of the picture to the left we see a woman whose distorted facial expression and whose hands are struggling to read as an expression of her grief and desperation. It is of two women held while a little boy whose facial expressions also testifies to despair, his left arm reaching out to her and touched her hands.
In the background, other people can be seen, among them another weeping
woman carrying a child on the holding arm, and several people who appear to be more than an observer of the scene. Although the grieving woman slightly offset from the image center to the left appears, it can be but as a gesture figure 302 understand their central visual dominance is characteristic of an aligned on affective values ​​imagery. About their posture, gestures and facial expressions such figures embody speak to her body certain, beyond the specific context beyond, symbolic meanings, and how in McCullins Photography to embody an emotion.
The Pathosformel female gesture figure, in contrast to Marienikonografie
held silent grief a dramatic gesture of despair expressed
brings, found pointedly in a photograph Micha Bar Ams, which he after the massacre
of 1,500 Palestinians on 16 September 1982 in refugee camps in Sabra and Shatila
has taken (Fig. 18). Pictured center a woman wearing headscarves can be seen,
the far stretches both arms in a dramatic gesture. Her face is contorted with pain, the
mouth wide open, eyes half closed. In this gesture of horror, the shock and the grief convey as an emotional symbolism that is reinforced by the evocation of a synaesthetic perception. The mouth opened synaesthetically refers to the plaintive crying or screaming of the mourners. Similarly, this works in Edvard Munch's famous painting, The Scream 'by 1893 (Fig. 19), which has thus brought about the horror of the gesture and the emotional symbolism like no other paintings of art history the phenomenon of fear and despair direct expression.

Ergebnisse (Englisch) 3:

just don mccullins picture, however, is different from dayna smith and hocine
less withdrawn grief than drama stresses. light from the bildzentrum moved to the left, we see a woman whose distorted face and hands the coil as an expression of their pain and despair, to read. it is held by two women, while a little boythe facial expression of despair, also is his left arm after you reach out and touch their hands.
in the background are more people to see, among them another weeping 'wife, holding a child, and several people, rather as an observer of the scene appear. even if the grieving woman easily from the bildzentrum left to appearso it can be as a gebärdefigur 302 to understand their bildzentrale dominance characteristic for an affective values oriented imagery. on your posture, gestures and the expression on their faces are such characters as your body some, on the specific context of excess.symbolic meanings and, as mccullins photography, the embodiment of emotion. the pathosformel female gebärdefigur, in contrast to the marienikonografie
instead of silent grief a dramatic gesture of despair for the expression
, is subjectively in a photography micha bar ams, he after the massacre) 1500 palestinians at 16.september 1982 at a refugee camp in sabra and shatila
recorded (figs. 18). in bildzentrum is a kopftuchtragende wife to see
both arms in dramatic gesture far reach out. her face was twisted with pain, the mouth wide open, eyes half closed. in this gesture of horror to convey the shock and suffering as an emotional symbolism.