丹佛论文代写：真实与虚假真相的渲染： 桑塔格在当代

丹佛论文代写：真实与虚假真相的渲染： 桑塔格在当代

怀旧是反映在照片中的主要方面，因为它隐藏了人类的情感，如痛苦和痛苦，或恐惧所遭受的闪光的眼睛反映的照片。怀旧是因为人类会经历类似的感情之前。可以看到和感觉到，但这种情况在感觉上是不容易的。这是一个在每个人的生活中嵌入一段感情的故事的标志。摄影促进怀旧（桑塔格，1973）。她进一步指出，有悲情是被提倡的，但不积极表现。维维安萨森的照片呈现这种悲情。这个人是悲伤的，有一种忧郁的感觉，观察者得到的感觉，他们是另一个人的死亡和感觉的一部分。从被动的听众积极参与观众过渡。
桑塔格（1973）更进一步提出，照片可能是伪的存在或缺失。这意味着照片不需要有效地描绘现实。它只能显示一些细节呈现一个虚假的图片，这将煽动观众。在这张维维安萨森，观众会煽动，因为他们将无法理解所诱发的流浪儿像女士的情绪；也有情感信息的构造。夫人是一个模型，基本上是谁卖的产品雕刻描绘。然而，她周围的帧构造，否则，背景是隐藏的背景下。

丹佛论文代写：真实与虚假真相的渲染： 桑塔格在当代

Nostalgia is the main aspect reflected in the photograph as it hides the human emotions like pain and agony or fear suffered by the gleaming eyes reflected in the photograph. The nostalgia is present because humans would have gone through similar sentiments before. It can be seen and felt, but the situation in which it is felt cannot be easily associated with. It is a tell tale sign of a piece of sentiment embedded in each and every individual’s life. Photography promotes nostalgia (Sontag, 1973). Sontag further more states that sense of pathos is being advocated, although not actively shown. Vivian Sassen’s photograph presents this pathos. The person is presented with sadness, there is a sense of something melancholy and the viewer gets the feeling that they are part of another person’s mortality and feelings. The viewer transits from being a passive listener to an active participant.

Sontag (1973) further more presents that the photograph could indicate a pseudo-presence or an absence. This means the photograph need not effectively portray reality. It could by showing only some details present a false picture and this would incite the viewer. In this picture of Vivian Sassen, the viewer would be incited because they would not be able to understand what has evoked the emotions of the waif like lady; also a sense of emotional information is constructed. The lady is a model who is basically portrayed to sell the products of carven. However the frame constructed around her speaks otherwise, the background is hidden from context.