On the one hand, the sometimes veiled figure of Lot's wife allows these artists to picture the desire to destroy the spectator on the other, she stands as a sign of the potential danger to the spectator. Here‘s a pretty shocking article that Russia and Jordan have signed an.
Just like evangelical explorers looking for Noah’s Ark investigate everything except for the text that helps to identify the location of the object they’re looking for, searchers for Sodom and Gomorrah simply forget to read. These examples all return to the story of Lot's wife as a way to think about modern predicaments of the spectator. Sodom and Gomorrah known in the United States as The Last Days of Sodom and Gomorrah is a DeLuxe Color 1962 epic film which is loosely based on the Biblical reading of Sodom and Gomorrah.The film was a Franco-Italian-American co-production made by Pathé, SGC and Titanus.It was directed by Robert Aldrich and produced by Maurizio Lodi-Fe, Goffredo Lombardo and Joseph E. When you look for the ruins of Sodom and Gomorrah, the obvious book to ignore is the Bible.
In extended engagements with examples from twentieth-century theater, film, and painting, he focuses on the theatrical theory of Antonin Artaud, a series of American films, and paintings by Anselm Kiefer. Harries traces the figure of Lot's wife across media. This book traces some of its aesthetic, theoretical, and ethical consequences. Although rarely articulated directly,this idea remains powerful in our culture. This biblical story of punishment and transformation, a nexus of sexuality, sight, and cities, becomes the template for the modern fear that looking back at disaster might petrify the spectator. The fragments of this history all lead back to the story of Lot's wife: looking back at the destruction of the cities of Sodom and Gomorrah, she turns into a pillar of salt. Its subject is the notion that the sight of historical catastrophe can destroy the spectator. Can looking at disaster and mass death destroy us? Forgetting Lot's Wife provides a theory and a fragmentary history of destructive spectatorship in the twentieth century.