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|Spanish to English translations [PRO]|
Social Sciences - Social Science, Sociology, Ethics, etc. / Susan Sontag quote
|Spanish term or phrase: si hay sangre, va en cabeza|
|The above is a quote from Susan Sontag's work "Regarding the Pain of Others" (2003). I cannot find it and was wondering whether anyone had a copy of this, as it cannot be accessed via Google books, or if it rang any bells. The context is TV violence, so basically, if there is blood and gore, it will be given priority and shown first.|
I have a long deadline on this, so there is no rush.
51 mins confidence:
36 mins peer agreement (net): +1
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|Reference: Some references, Nikki!|
Nikki, you can flip through this and see if you see the quote you need (certain pages are available, but not all) http://www.amazon.com/Regarding-Pain-Others-Susan-Sontag/dp/...
http://caosmosis.acracia.net/wp-content/uploads/2006/12/sont... de Aurelio Major
Ser espectador de calamidades que tienen lugar en otro país es una experiencia intrínseca de la modernidad, la ofrenda acumulativa de más de siglo y medio de actividad de esos turistas especializados y profesionales llamados periodistas. Las guerras son ahora también las vistas y sonidos de las salas de estar. La información de lo que está sucediendo en otra parte, llamada «noticias», destaca los conflictos y la violencia —«si hay sangre, va en cabeza», reza la vetusta directriz de la prensa sensacionalista y de los programas de noticias que emiten titulares las veinticuatro horas—, a los que se responde con indignación, compasión, excitación o aprobación,
mientras cada miseria se exhibe ante la vista.
The mechanical reproduction of images, Sontag explained, leveled all images, thus making them all equal. However, in her 2003 book Regarding the Pain of Others, published as the Iraq war was ramping up, she reversed this position, allowing that images of violence could—and perhaps should—sometimes mobilize activism.
Tarantino's work is about the flood of images that Sontag described. With his unique brand of postmodern pastiche, he weaves allusions to countless examples of film history. In particular, he has made a career out of a deep love of exploitation movies. He has also shown a predilection for films that portray extreme forms of gore and violence. The crucial question is: are his films actually exploitive insofar as they efface the sanctity of victims of violence or foreclose the possibility of documenting their suffering. Does Inglourious Basterds exploit the real suffering of Holocaust victims or the American soldiers who died in WWII? The answer is rather complicated.
Nikki, there is an excerpt here:
Note added at 1 hr (2010-12-07 15:58:42 GMT)
Glad you found what you needed (If it bleeds, it leads). Good luck!
| Taña Dalglish|
Works in field
Native speaker of: English
PRO pts in category: 16
|Note to reference poster|
|Asker: Thanks for your help and your support|
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|Changes made by editors|
|Dec 12, 2010 - Changes made by Nikki Graham:|
|Created KOG entry||KudoZ term » KOG term|| |
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