Undoubtedly, the tragedy of September 11, 2001 has been an unprecedented visual event. And yet, as was pointed out by an article published in Esquire in 2003, “in the most photographed and videotaped day in the history of the world, the images of people jumping were the only images that became, by consensus, taboo.” This taboo looks like the other side of what Allen Feldman calls a “temporal therapy”: “the audience was being given temporal therapy by witnessing a mechanical sequence of events, over and over, which restored the linearity of time, which had been suspended with the assaults.” Still, images like the photograph that is well-known under the title of “Falling Man” could be, thanks to their peculiar temporality, a good antidote against this “temporal therapy,” which aims at the formation of a specific “collective memory, and therefore of collective forgetfulness.” On top of a study on this kind of pictures, this paper will take into account the late Merleau-Ponty’s idea of a mutual precession of reality and images as a useful tool for understanding the peculiar temporality of such pictures.

中文翻译：

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坠落的人

毫无疑问，2001年9月11日的悲剧是史无前例的视觉事件。然而，正如 2003 年发表在 Esquire 上的一篇文章所指出的那样，“在世界历史上拍摄和录像最多的一天，人们跳跃的图像是唯一被一致认为成为禁忌的图像。” 这个禁忌看起来像是艾伦·费尔德曼所说的“时间疗法”的另一面：“观众通过一次又一次地目睹一系列机械的事件来接受时间疗法，它恢复了时间的线性，时间的线性被暂停了。袭击。” 尽管如此，像以“坠落的人”为名而广为人知的照片之类的图像，由于其特殊的时间性，可能是对这种旨在形成特定“集体记忆，因此是集体健忘。” 除了对这类图片的研究之外，本文还将考虑已故的梅洛-庞蒂关于现实和图像相互进动的思想，将其作为理解此类图片特殊时间性的有用工具。