Abstract:

This article examines an album of photographs of the ruins of Paris produced after the Commune, entitled Ruines de Paris: 1871. It argues that this album used the devastated landscape of Paris to repair the country's fractured national identity in the wake of the conflict. Ruines de Paris inserted the destroyed city into the iconographical tradition of architectural photography as a form of monument preservation, thereby reclaiming the city for the French patrimony. This attempt to assert control over the city's national meaning through photography, however, rested on a paradox. It required that viewers see not the Paris that actually was depicted in the photographs, but rather, the Paris that had been and could be. The ideological work of Ruines de Paris entailed a fundamental rupture in photography's relationship with reality. In the service of national identity, the photographic ruins of Paris deploy photography not as a referential but as an experiential medium, turning representational photography into abstraction in the process.

摘要：

本文介绍了在公社之后制作的巴黎废墟照片专辑，该专辑名为“ Ruines de Paris：1871”。它认为这张专辑是在冲突之后利用巴黎被毁的风景修复该国破碎的民族身份的。巴黎的吕恩（Ruines de Paris）将这座被毁的城市纳入建筑摄影的象征性传统中，作为纪念碑保护的一种形式，从而将该城市收回为法国的遗产。然而，这种试图通过摄影来控制城市的国家意义的尝试却是自相矛盾的。它要求观众不要看到照片中实际描绘的巴黎，而应该看到曾经的和可能的巴黎。巴黎鲁涅的思想工作摄影与现实的关系发生了根本性的破裂。为了民族认同，巴黎的摄影遗迹并不是将摄影作为参考，而是将其作为一种体验媒介，从而将代表摄影转变为抽象摄影。