Shooting
Kennedy: JFK and the Culture of Images
by David M. Lubin
University of California Press, Berkeley,
Los Angeles, 2003
355 pp., illus. Trade, $24.95
ISBN 0-520-22985-1.
Reviewed by Andrea Dahlberg
9 Belvedere road, London SE1 8YW
andrea.dahlberg@bakernet.com
In her recent essay on the photographs
of Americans torturing prisoners at Abu
Ghraib Susan Sontag reminds us that for
about the past 60 years photographs have
played a central role in determining how
conflicts are judged and remembered. Photographs
now have a special role in constructing
historical memory. We seem to be so aware
of this today that we look for the iconic
image that will define an event as Sontag
does in her essay by arguing that the
Abu Ghraib photographs will become the
defining images of the Iraq war. At the
same time, there is increasing uncertainty
as to what such images meanare
they photographs of "what really
happened" or were they staged for
profit or propaganda? The continuing debate
over Robert Cappas "Falling
Soldier" or the images of the toppling
of the statue of Saddam Hussein are evidence
of this insecurity and the desire to unlock
the meaning of photography and its relationship
with contemporary culture and history.
As the Iraq war and its aftermath unfold
before us in a series of photographs,
televised images and videos, questions
about how such images gain their power
and what they mean have a particular urgency
and relevance. In Shooting Kennedy
David Lubin addresses these questions
by analysing films and photographs of
the assassination of John F. Kennedy and
his years in the White House. Lubin uses
an art historical approach and identifies
aspects of the images and then relates
them to other historical images, aspects
of popular culture and music. The range
of historical and cultural references
is dazzling. Lubin invokes Greek and Roman
art, seventeenth century Dutch painting,
American sitcoms, movies, popular songs,
Chopin, Beethoven and John Cage. He does
not confine himself to a chronological
approach but moves backwards and forwards
in time, spinning out visual associations
and linking the art of centuries largely
through its visual characteristics. Little
accord is given to how these cultural
objects were constructed, what they meant
to their makers, the specific conditions
of their making, and how they were and
are understood and used by different groups.
"My subject," writes Lubin,
"is the impact of images on images."
But images can have no impact, indeed
cannot even exist, without human agency.
This question of human agency raises the
issue of who understands these images
by reference to this complex web of contemporary
and historical sources stretching across
countries and continents. Lubins
answer is that the images are powerful
because they "activate latent memories
of other powerful images in the histories
of art and popular culture". This
seems to imply some sort of unconscious
mind, but whether it is Jungian or based
on the now discarded theory of mind posited
by Levi Strauss or some other alternative
is unclear. Lubin does not explore this
question. His interest lies primarily
in weaving webs of resemblance between
the Kennedy images and numerous aspects
of various Western cultures.
Sontag interprets the Abu Ghraib images
as acts that took place in a specific
context. She reveals the legal and power
relations that made them possible. Lubins
analysis, by contrast, never stays still
for long enough to uncover these conditions.
His claim to de-mythologize the images
is, therefore, unconvincing. The myth
of Camelot lives in this book.