Die Bildtypologien und Bildschemata

Die Bildtypologien und Bildschemata, die sich durch stete Wiederholung als Teil
des kulturellen Gedächtnisses287 etabliert haben, erweisen sich letztlich als Teil eines Zirkelschlusses: Weil sie vertraut erscheinen, müssen sie offenbar mit der Realität übereinstimmen und werden entsprechend geglaubt. Bestimmte Kontexte erfordern in dieser Folge immer wieder bestimmte bildliche Umsetzungsmuster. Somit ist nicht allein das Geschehen selbst Bezugspunkt der Pressefotografie, sondern auch die in diesem Kontext etablierte Bildsprache. Gerade Wettbewerben wie dem ,World Press Photo Award‘ kommt in diesem Zusammenhang ein stark prägender Einfluss zu, weil sie bestimmte Bildnormen setzen und bestätigen und damit einen Vorbildcharakter haben, der bewusst oder unbewusst Einfluss auf die am Bildprozess Beteiligten nimmt.
Wie bereits die für die Visualisierungen von ‚Leid‘ beispielhaft vorgestellten Fotografien
gezeigt haben, ist der Bezug auf ikonografische Bildtraditionen besonders häufig
und offenkundig, wenn es um die Visualisierung einer emotionalen Symbolik geht. In diesem Zusammenhang möchte ich kurz auf Aby Warburg eingehen, der im Rahmen seines Mnemosyne-Projekts einen Atlas des kollektiven Bildgedächtnisses angelegt hat. Für seinen Mnemosyne-Atlas versammelte Warburg kunst- und religionsgeschichtliches Bildmaterial aus zweieinhalb Jahrtausenden, das er auf großflächigen Tafeln zusammenstellte. In seinem Bilderatlas versuchte Warburg, das Bildmaterial zu ikonografischen Reihen und Bildkonstellationen zu gruppieren. Dabei sortierte er die Bilder nach unterschiedlichen visuellen Kriterien und suchte so die Verbindungen zwischen den verschiedenen Bildern offenzulegen. „Der Mnemosyne-Atlas hat die Aufgabe, die religiösen und künstlerischen Spuren aufzunehmen, in denen sich [...] ‚Dauerfunktionen‘ gebildet haben. Wie Religion und Kunst selbst ist der Atlas ein ‚Auffangspiegel‘ konnektiver und mnemischer Energien. Der Atlas ist weit mehr als Dokumentation, Interpretation, Wissen. In der Sammlung von Gestaltungen, in denen Affektenergien und formale Kontrolle zu einer Ausdruckszwang und Ordnungsbedürfnis gleichermaßen befriedigenden Balance gefunden haben, wird der Atlas auch zur Schatz- und Wunderkammer des kulturellen Gedächtnis Pathosformeln sind im Anschluss an Warburg bestimmte Motive und Darstellungsformen, die mit Rekurs auf das Formenrepertoire der Antike einen emotionalen Ausdruck symbolisieren. Als „historische Psychologie des menschlichen Ausdrucks“ beschreibt Warburg die Rhetorik und Semantik körperbezogener Ausdrücke und bezieht sich mit dem Begriff der Pathosformel auf die „zu Bildern und Figuren geronnenen Interferenzen zwischen Affektenergien und kulturellen Verarbeitungsmustern“. Die Reaktualisierung von Pathosformeln, im Sinne von bildästhetischen Zitaten, die einen emotionalen Ausdruck visualisieren, scheint für die Pressefotografie charakteristisch. Gerade emotionalisierte und emotionalisierende Themen wie Leiden und Schmerz erscheinen in der fotojournalistischen Bildsprache extrem ritualisiert. Mit dem Rekurs auf ein ikonografisch vertrautes Formenrepertoire und die Wiederkehr emotionaler Symbolik werden diese Themen als einfach lesbare Symbole visualisiert, die der Betrachter als Teil des kulturellen Bildgedächtnisses unmittelbar wiedererkennt. Beispielhaft sei hier das ,World Press Photo‘ (Abb. 13) des Jahres 1997 angeführt.
Die sogenannte ,Madonna von Benthala‘, eine Fotografie des Fotografen Hocine aus dem
algerischen Bürgerkrieg, zeigt eine weibliche Figur, die am Boden sitzend von einer weiteren weiblichen Figur stützend und mitfühlend gehalten wird. Der Ausdruck emotionaler Trauer der ersten weiblichen Figur ist offenkundig, sie hat den Kopf zur Seite geneigt, ihr Blick ist nach innen gekehrt und der Mund klagend geöffnet. Die kopftuchtragende, weinende Frau im Bild erinnert an eine Darstellungsform christlicher Ikonografie, nämlich die Maria aus der Beweinung Christi. Hocines Pressefotografie, die er am 23. September 1997 nach dem Massaker in Bentalha in Algerien aufgenommen hat, zitiert damit die christlichabendländische Bildtradition und reaktualisiert eine Pathosformel, die die weibliche Figur zum Sinnnbild der Trauer und des Schmerzes werden lässt. Der ikonografische Verweis auf die Beweinung Christi bringt die Algerierin in motivische Korrespondenz zur Figur der Maria und legt die Deutung nahe, dass die Algerierin um ihre Kinder trauert. Der Rekurs auf das ikonografische Darstellungsmuster der Trauer verstärkt so die Symbolwirkung und vermittelt die Bedeutung unmittelbar.

Ergebnisse (Englisch) 1:

The types of image, image schemas, the by continual repetition as parthave established the cultural Gedächtnisses287, prove himself ultimately as part of the conclusion of the circular: because they seem familiar, they must apparently correspond with reality and are accordingly believed. Certain contexts require time and again certain pictorial implementation patterns in this episode. Thus, not only what is happening is self reference of press photography, but also the Visual language established in this context. Just competitions such as the World Press Photo Award' is a strong formative influence in this regard, because they put some image standards and confirm, and thus have a role model, which consciously or unconsciously affect the image process involved takes.As already for the visualizations of ' suffering as an example featured photographshave shows is particularly common on iconographic image traditionsand obviously, when it comes to the visualization of an emotional symbolism. In this context I would like to briefly on Aby Warburg, who created an Atlas of the collective image memory of Mnemosyne project. His Mnemosyne-Atlas, Warburg gathered art and religion-historical imagery from two and a half millennia, he compiled on large panels. In his image Atlas, Warburg tried to group the images to image constellations and iconography series. He sorted the images according to various Visual criteria, thereby sought to disclose the connections between the different images. "Mnemosyne-Atlas has the task to record the religious and artistic traces, in which [...]" 'Continuous functions' have formed. How religion and art itself is the Atlas a collecting mirror ' connective and mnemischer energy. The Atlas is more than documentation, interpretation, knowledge. In the collection of designs, in which affect energy and formal control to a balance equally satisfied expression constraint and order need have found the Atlas is used also for the Treasury and Wunderkammer of the cultural memory pathos formulas are Warburg after certain motifs and forms of representation, which symbolize an emotional expression with recourse to the ancient repertoire of forms. Warburg describes the rhetoric and semantic of body-related expressions as "historical psychology of human expression" and refers to the "interference between affect energy and cultural patterns of processing" coagulated to images and figures with the concept of pathos formula. Re updating pathos formulas, in the sense of aesthetic image quotations, which visualize an emotional expression, seems characteristic of press photography. Just emotional and emotional issues such as suffering and pain appear extremely ritualized in the photojournalistic imagery. The recourse to an iconographically familiar repertoire of forms and the return of emotional symbolism visualised this topics as easy-to-read symbols which immediately recognizes the Viewer as part of the cultural memory of the image. As an example the World Press was photo here ' led (fig. 13) in 1997.The so-called Madonna of Benthala', a photography of Hocine photographers from theAlgerian civil war, shows a female figure that sitting leaning and compassionate is held on the ground by an another female figure. The expression of emotional mourning of the first female figure is evident, she has tilted his head to the side, her look is inside Vice and the mouth open complaining. The headscarf-wearing, weeping woman in the picture reminds of a form of presentation of Christian iconography, namely the Maria of the lamentation of Christ. Hocines press photography, which he started on September 23, 1997, after the massacre in Bentalha in Algeria, thus quoted the Christian Occidental pictorial tradition and re updated a pathos formula, which makes the figure from the Sinnnbild of sorrow and pain. The iconographic reference to the lamentation of Christ brings the Algerian woman in motivic correspondence of Mary to the figure and the interpretation suggests that the Algerian woman mourns her children. The recourse to the iconographic representation of patterns of mourning increases so the symbol effect and immediately conveys the meaning.

Ergebnisse (Englisch) 2:

The image types and image schemata, which are characterized by constant repetition as part
have established the cultural Gedächtnisses287, prove ultimately as part of a vicious circle: Because they seem familiar, they must obviously correspond to reality and are believed accordingly. Certain contexts require in this episode again and again certain pictorial implementation pattern. Thus, not only the event itself is the reference point of the press photography, but also established in this context imagery. Just competitions such as the, World Press Photo Award 'is in this context a strong formative influence on, because they put certain image standards and confirm, and thus have a role model who takes conscious or unconscious influence on the image involved in the process.
As for the visualizations of, suffering 'exemplary featured photographs
have shown, the reference to iconographic pictorial traditions is particularly common
and obvious when it comes to visualizing an emotional symbolism. In this context I would like to comment briefly on Aby Warburg, who created an atlas of the collective visual memory under its Mnemosyne project. For his Mnemosyne Atlas gathered Warburg art and religion historical imagery from two and a half millennia, which he put together on large-area panels. In his images Atlas Warburg tried to group the image material to iconographic series and image constellations. He sorted the images by different visual criteria and then examined the links between the different images reveal. "The Mnemosyne Atlas has the task of absorbing the religious and artistic tracks in which [...] have, time functions' formed. How religion and art itself is the Atlas, collecting mirror 'of connective and mnemic energies. The atlas is much more than documentation, interpretation, knowledge. In the collection of designs in which have found emotional energy and formal control to a term compulsion and need for order equally satisfactory balance, the Atlas is also the Treasury and Wunderkammer of the cultural memory of pathos formulas are following Warburg certain motifs and forms of representation that on with recourse the formal repertoire of Antiquity symbolize an emotional expression. As a "historical psychology of human expression" Warburg describes the rhetoric and semantics of body-related terms, and refers to the notion of pathos to the formula "to images and figures clotted interference between emotional energy and cultural processing patterns". The reactualization of pathos formulas, within the meaning of aesthetic languages ​​quotations that visualize an emotional expression that seems characteristic of the press photography. Just emotionalisierte and emotive issues such as suffering and pain appear extremely ritualized in the photojournalistic imagery. The recourse to a familiar iconographic repertoire and the recurrence of emotional symbolism these issues are visualized as easily readable symbols that immediately recognizes the observer as part of the cultural image memory. One example is the, World Press Photo '(Fig. 13) of 1997 led.
The so-called Madonna of Benthala', a photograph of the photographer Hocine from the
Algerian civil war, showing a female figure, the sitting at the bottom of another female Figure is held supportive and compassionate. The term emotional grief of the first female figure is obvious she has her head tilted to one side, her gaze is turned inward and the mouth opens plaintively. The wearing headscarves, weeping woman in the picture is reminiscent of a form of representation of Christian iconography, namely the Mary of the Lamentation of Christ. Hocines press photography, which he recorded in Algeria on 23 September 1997 after the massacre in Bentalha so quotes the christlichabendländische pictorial tradition and reactualizes a pathos formula, which can be the female figure becomes a symbol of sadness and grief. The iconographic representation of the Lamentation of Christ brings the Algerian in motivic correspondence to the figure of Mary and suggests the interpretation that the Algerian woman mourns her children. The recourse to the iconographic representation pattern of grief intensified as the symbolic effect and conveys the importance of immediately.

Ergebnisse (Englisch) 3:

the bildtypologien and bildschemata, through constant repetition, as part of the cultural gedächtnisses287 will ultimately have established as part of a zirkelschlusses: because they seem familiar, you must appear to correspond to reality, and according to believed. some contexts require in this always follow certain visual umsetzungsmuster.this is not only the reference point should be themselves, but also in the context of established visual language. just competitions such as the world press photo award 'in this respect, a strong formative influence, because it is certain bildnormen and confirm that a model.the conscious or subconscious influence on the bildprozess involved. "as for the visualization of ‚leid 'model presented photographs) have shown, is the reference to ikonografische bildtraditionen frequently. and obviously, when it comes to the visualization of emotional imagery. in this context, i would like to briefly comment on aby warburg.in the framework of its mnemosyne project an atlas of collective bildgedächtnisses has created. for his mnemosyne atlas gathered warburg arts and religionsgeschichtliches imagery from two and a half centuries, he on large-area sheets together. in his bilderatlas tried warburg, the images of ikonografischen series and bildkonstellationen group.in the images sorted according to different visual criteria and looked so the connections between the different images to be disclosed. "mnemosyne atlas has the task to include religious and artistic tracks, in which [...] ‚dauerfunktionen 'have formed.such as religion and art itself is the atlas a ‚auffangspiegel 'konnektiver and mnemischer energies. the atlas is far more than documentation, interpretation, knowledge. in the collection of designs in which affektenergien and formal control to a ausdruckszwang and ordnungsbedürfnis equally satisfactory balance foundthe atlas also to treasure and curiosities of the cultural memory pathosformeln are following warburg certain motifs and styles, with recourse to the ancient symbol of a formenrepertoire emotional expression.as' psychology of human expression, "describes the high rhetoric and semantics körperbezogener expressions and deals with the concept of pathosformel on 'images and characters geronnenen interferences between affektenergien and cultural verarbeitungsmustern". the reaktualisierung of pathosformeln, within the meaning of bildästhetischen quotations.the emotional expression of visualize, appears to the should be characteristic. just emotionalisierte and emotionalisierende themes like pain and pain appear in the fotojournalistischen imagery highly ritualized.the recourse to a ikonografisch familiar formenrepertoire and return emotional symbolism of these issues than just readable symbols visualizes the viewer as part of cultural bildgedächtnisses immediately recognize them. an example is the world press photo (figs. 13) of 1997 led. the so-called madonna of benthala 'a photograph of the photographer hocine from the algerian civil war, shows a female figure on the floor at another female figure supportive and compassionate manner. the expression of emotional grief the first female character is obvious, they took his head to the side inclined, and her gaze is turned inwards and the mouth open weeping. the kopftuchtragende,crying woman in the picture is reminiscent of the style of christian iconography, the mary out of the beweinung of christ. hocines should, on 23. september 1997 after the massacre in bentalha in algeria has been quoted that the christlichabendländische bildtradition and reaktualisiert a pathosformel,the female character to sinnnbild grief and pain can be. the ikonografische reference to the beweinung christ brings the algerian in motivische correspondence to figure of mary and encourages the interpretation seems to be that the algerian for their children's grief.the recourse to the ikonografische polygon display patterns of grief intensified the symbol and gives the importance directly.