Brecht, la fotografia, la guerra
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Nel 1955, un anno fatidico per la storia della fotografia, usciva, perlopiù ignorata, la Kriegsfibel di Bertolt Brecht, un libro composto da versi e immagini fotografiche che il drammaturgo aveva raccolto da riviste illustrate durante il suo esilio dalla Germania nazista, conservando talvolta anche le didascalie. Per la sua densità teorica e le sue inquietanti implicazioni contemporanee, esso rappresenta un caso editoriale sempre più frequentato dagli studiosi interessati ai meccanismi della propaganda, agli usi ideologici e alla ricezione delle immagini di guerra. La Kriegsfibel enuncia in modo inequivocabile i propri intenti: "questo libro vuole insegnare l'arte di leggere le immagini". Ma sotto molti aspetti tratta la fotografia come un oggetto puramente strumentale, rispondendole con una critica radicale del nesso tra capitalismo, riproducibilità tecnica e società di massa. Questo saggio ne esamina strategie e luoghi sintomatici, verificandone la portata teorica in rapporto a una serie di casi - precedenti, coevi e successivi - cruciali per la storia e la teoria fotografica
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Con più specifica attenzione alla fotografia, in un volumetto che sviluppa e amplia le considerazioni presentate nel convegno del 2013 (Brecht, la fotografia, la guerra), Giacomo Daniele Fragapane evidenzia le contraddizioni intrinseche al progetto brechtiano, prima fra tutte quella tra la proposta di un'"arte di leggere le immagini" e una concezione in fin dei conti anacronistica della fotografia, informata dal "paradigma ottocentesco dell'immagine meccanica come 'specchio dotato di memoria'", proprio mentre giungeva all'apogeo la concezione autoriale e costruttiva condensata nella metonimia dell'"occhio del fotografo"...
_ Marco Maggi, L'indice, gennaio 2016
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