User:KForeman/sandbox: Difference between revisions

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Mailer, in the opening sentences of his essay, in one of only two references to the photos, tells us: “Turning through the pages of this book one is captured finally by a modest addiction. One keeps going back. As the pages are toured for the tenth time, a small magic emerges” (1). The author’s passive, impersonal, subdued, even removed tone is quite remarkable for the opening of an essay, particularly one by Mailer, presenting to the reader a weak lead, and projecting a weird sort of disconnect, as though the writer we're seeing the photographs for the first time. Magic is the last thing that emerges from the photos or the initial prose.Also, the notion that anyone would “tour” these pages ten times, becoming even modestly addicted, falls somewhere between fanciful and absurd.

The photographers twenty of them range from noted taurine experts such as Robert Daley, Vincent Kehoe, and Peter Buckley, all of whom had already published excellent photographic essays on the bulls (in suitable large format), to those of news agencies and, in the case of the photos of Dominguín (credited “courtesy of Luis Miguel Dominguín”), an anonymous photographer, probably one of the Spanish taurine professionals such as Cano or Cuevas. Some of the images notably two by Bob Cato (nos. 60, 78) should have gone straight into the trash can.

The more I looked at these photographs as a group, the worse they looked, rather the opposite of Hemingway’s carefully selected and artfully captioned selections, about which taurine critic Anthony Brand wrote an excellent analytical article: “The photo essay is perhaps the most intense, focused, and serious section of Death in the Afternoon” (182). Some of the captions in this book, whoever did them, is wrong. Photo no. 18, for example, pictures, not a “media verónica” but a revolera. Both passes finish a series with the cape, but their confusion is virtually impossible the former is tight, classical, and closed, and the latter is loose, showy, and open.

===References===

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 Mailer, in the opening sentences of his essay, in one of only two references to the photos, tells us: “Turning through the pages of this book one is captured finally by a modest addiction. One keeps going back. As the pages are toured for the tenth time, a small magic emerges” (1). The author’s passive, impersonal, subdued, even removed tone is quite remarkable for the opening of an essay, particularly one by Mailer, presenting to the reader a weak lead, and projecting a weird sort of disconnect, as though the writer we're seeing the photographs for the first time. Magic is the last thing that emerges from the photos or the initial prose.Also, the notion that anyone would “tour” these pages ten times, becoming even modestly addicted, falls somewhere between fanciful and absurd.
+The photographers twenty of them range from noted taurine experts such as Robert Daley, Vincent Kehoe, and Peter Buckley, all of whom had already published excellent photographic essays on the bulls (in suitable large format), to those of news agencies and, in the case of the photos of Dominguín (credited “courtesy of Luis Miguel Dominguín”), an anonymous photographer, probably one of the Spanish taurine professionals such as Cano or Cuevas. Some of the images notably two by Bob Cato (nos. 60, 78) should have gone straight into the trash can.
+The more I looked at these photographs as a group, the worse they looked, rather the opposite of Hemingway’s carefully selected and artfully captioned selections, about which taurine critic Anthony Brand wrote an excellent analytical article: “The photo essay is perhaps the most intense, focused, and serious section of Death in the Afternoon” (182). Some of the captions in this book, whoever did them, is wrong. Photo no. 18, for example, pictures, not a “media verónica” but a revolera. Both passes finish a series with the cape, but their confusion is virtually impossible the former is tight, classical, and closed, and the latter is loose, showy, and open.
 ===References===