Photograph a (fig 1.1) : Felig, Arthur Weegee. The First Murder. pre 1945. New York City. , Photograph b (fig 1.2) Weegee Working in the Trunk of His Chevrolet. 1943. Practices Of Looking : An Introduction
Strunken and Cartwright drew focus to the reception of the murder scene by the three witness parties : The photographer, The adults and The children. The compelling thing is that it is not the reception itself but the capacity of the camera, the still photograph, to speak for so many different levels simultaneously. The brief discussion of these two photographs attended to the personality of Weegee (Alfred Felig) as a photographer, using as strange an artistic process as the images he produced. Attending murder scenes, photographing mourning relatives and chaotic streets of children, and then developing the imagery in the boot of his Chevrolet, Strunken and Cartwright consider the process behind a confusing image. This description of photographer Weegee bought attention to the way a photograph speaks for the mentality of the photographer inijating the image’s creation.
Sturken, Marita, and Lisa Cartwright. “Images, Power and Politics.” Practices of Looking: An Introduction to Visual Culture. Oxford: Oxford UP, 2001. Print.