“Torture And The Ethics Of Photography” by Judith Butler: Summary and Critique

Introduction: “Torture And The Ethics Of Photography” by Judith Butler

“Torture and the Ethics of Photography” by Judith Butler first appeared in 2009 in the journal Philosophy and Social Criticism. This influential piece has significantly impacted the fields of literature and literary theory by critically examining the complex relationship between photography and the representation of violence. Butler delves into the ethical implications of capturing and disseminating images of torture, arguing that such images can both expose and perpetuate harmful power dynamics. Her analysis challenges conventional notions of representation and invites readers to consider the ethical responsibilities of both photographers and viewers in a world saturated with visual media.

Summary of “Torture And The Ethics Of Photography” by Judith Butler

• Ethical Responsiveness and Suffering: Butler examines the ethics of how suffering is presented through photography, emphasizing that the framing of images influences our ability to respond to suffering. She questions how certain frames make some human lives recognizable and others not, linking this to broader norms of humanization and dehumanization.
  • “The frames that allocate the recognizability of certain figures of the human are themselves linked with broader norms that determine questions of humanization or dehumanization.”
• The Role of the State in Framing War: The essay critiques the state’s role in controlling the narrative of war through “embedded” journalism, where the government curates what can be seen and reported, thereby shaping public perception and response. The state orchestrates a reality where certain images are permissible, and others are suppressed.
  • “The state operates on the field of perception and, more generally, the field of representability, in order to control affect, and in anticipation of the way that affect informs and galvanizes political opposition to the war.”
• Photographs as Active Interpretations: Butler argues against Susan Sontag’s view that photographs are merely selective and not interpretative. She posits that photographs, especially those mandated by the state, actively participate in building a particular narrative and political consciousness.
  • “The photograph is not just a visual image awaiting its interpretation; it is itself interpreting, actively, even forcibly.”
• The Power and Limitations of Photography: While acknowledging the power of photographs to move and incite, Butler also discusses their limitations. Photographs may overwhelm or numb viewers, and their impact is heavily dependent on the political consciousness within which they are received.
  • “Photographs render truths in a dissociated moment; they ‘flash up’ in a Benjaminian sense… What they appear to lack is narrative coherence that, alone, supplies the needs of understanding.”
• Norms of Humanization and Grievability: The essay explores how visual and narrative frames determine whose lives are seen as grievable. The recognition of suffering and the public response to it are influenced by these norms, which are embedded in the framing of images.
  • “Norms… govern which human lives count as human and as living, and which do not… operate through frames that govern the perceptible.”
• Photographs of Torture and Ethical Implications: Butler reflects on the infamous Abu Ghraib photographs, noting how these images both documented and perpetuated acts of torture. She considers the ethical implications of such images and their role in shaping public understanding of the events they depict.
  • “The photographs showed instances of abuse and torture, but… there was a pattern among them… that there was a systematic mistreatment of prisoners.”
• Visual Culture and Ethical Response: The essay concludes by discussing the role of visual culture in times of war, urging a critical examination of the frames that shape our perception of human suffering. Butler suggests that recognizing the framing of images is crucial for an ethical response.
  • “To learn to see the frame that blinds us to what we see is no easy matter… The restriction we are asked to live with… impose constraints on what ‘can’ be heard, read, seen, felt, and known.”

Literary Terms/Concepts in “Torture And The Ethics Of Photography” by Judith Butler

Term	Definition (in context of the essay)	Examples from the Essay
Frame	The borders of a photograph, both literal and metaphorical. It determines what is included and excluded from the image and shapes how the viewer interprets it.	* “We can think of the frame, then, as active, as jettisoning and presenting, and as doing both at once, in silence, without a visible sign of its operation and yet effectively.” (952) * “Those broader social and political norms that establish the lives that will be considered human… operate in many ways, but one way they operate is through frames that govern the perceptible…” (953)
Norm	Unwritten rules or standards that govern how we perceive and respond to the world. In this essay, Butler focuses on norms that define who is considered “human” and deserving of ethical treatment.	* “Before the publication of the photos from Abu Ghraib, I sought to relate three different terms… the first instance, there are norms—explicit or tacit—that govern which human lives count as human and as living, and which do not…” (952) * “Some humans take their humanness for granted, and others struggle to gain access to the term.” (954)
Representation	The act of depicting or portraying something. Butler argues that photographs are not simply neutral representations, but are shaped by the frames and norms in which they are produced and viewed.	* “We might have thought that the US personnel in Abu Ghraib or Guantanamo were bound to engage in humane treatment by virtue of international accords governing prisoners of war. Very few people at Abu Ghraib even knew about those accords.” (953)
Affect	An emotional response or feeling. Butler argues that photographs can have a powerful affective impact on viewers, but this impact is shaped by the frames and norms in which they are presented.	* “For photographs to communicate in this way, they must have a transitive function. They do not merely portray or represent, but they relay affect.” (954) * “…the visual representation of suffering has become clichéd, that we have become bombarded by sensationalist photography and that, as a result, our capacity for ethical responsiveness has become diminished.” (954)
Delimitation	The act of setting boundaries or limits. Butler argues that frames delimit what is shown in a photograph and what is excluded.	* “The operation of the frame, where state power exercises its forcible dramaturgy, is not precisely representable or, when it is, it risks becoming insurrectionary and becomes subject to state punishment and control. Prior to the events and actions that are represented within the frame, there is an active, if unmarked, delimitation of the field itself…” (952)

Contribution of “Torture And The Ethics Of Photography” by Judith Butler to Literary Theory/Theories

Literary Theory	Contribution of “Torture And The Ethics Of Photography” by Judith Butler	References from the Article
Post-Structuralism	Decentering of Subjectivity and Meaning: Butler challenges fixed meanings and subjectivities in photographic representation, highlighting that photographs are active in constructing interpretations influenced by state power.	“The photograph is not just a visual image awaiting its interpretation; it is itself interpreting, actively, even forcibly.”
	Critique of Meta-Narratives: Butler critiques the meta-narrative of objective truth in war photography by showing how state control over visual representation shapes reality.	“The state operates on the field of perception… in order to control affect, and in anticipation of the way that affect informs and galvanizes political opposition to the war.”
Critical Theory	Power, Ideology, and Representation: Butler analyzes how ideology and power shape cultural representations, particularly in how state power influences visual frames that affect public perception and ethical responsiveness.	“The frames that allocate the recognizability of certain figures of the human are themselves linked with broader norms that determine questions of humanization or dehumanization.”
	Role of Media in Perpetuating Power Structures: Butler critiques how media, through “embedded” journalism, perpetuates power structures by controlling what is visible and shaping what is considered reality.	“We see something of the performative power of the state to orchestrate and ratify what will be called reality or, more philosophically, the reach and extent of the ontological field.”
Visual Culture Studies	Framing and Visual Representation: Butler contributes to visual culture studies by analyzing how visual framing in photography shapes viewers’ understanding and response to human suffering.	“The operation of the frame, where state power exercises its forcible dramaturgy, is not precisely representable or, when it is, it risks becoming insurrectionary and becomes subject to state punishment and control.”
	Critique of the Visual Regime of War: Butler highlights how the visual regime of war, especially in the context of the Abu Ghraib photographs, documents and perpetuates violence, raising ethical concerns about visual culture.	“The photos are not only shown, but named; both the way that they are shown, the way they are framed and the words used to describe what is shown work together to produce an interpretive matrix for what is seen.”
Feminist Theory	Intersectionality and Power Relations: Butler’s analysis of whose lives are grievable aligns with feminist theory by exploring how race, gender, and power intersect in visual and narrative frames.	“These norms are, as it were, enacted precisely through specific frames, visual and narrative, that presuppose decisions about what will be unframed, and what will be left outside the frame.”
	The Ethics of Representation: Butler’s discussion of the ethical responsibilities in representing suffering, particularly of marginalized groups, contributes to feminist concerns about representation.	“For photographs to accuse and possibly invoke a moral response, they must shock… But the photograph tells us clearly that the dead do not care whether we see.”
Ethical Criticism	Moral Responsibility of the Viewer: Butler contributes to ethical criticism by exploring the viewer’s moral responsibilities when confronted with images of suffering, questioning if photographs can effectively incite ethical action.	“The question for me is the following: how do the norms that govern which lives will be regarded as human lives and which will not, enter into the frames through which discourse and visual representation proceed?”
	Critique of Sensationalism in Visual Media: Butler critiques the diminishing of ethical responsiveness due to sensationalist images, relevant to ethical criticism’s concern with the impact of aesthetic choices on moral understanding.	“Sometimes it seems to bespeak our numbness, and other times it seems to establish our prurience and tendency to respond to sensationalism.”
Postcolonial Theory	Representation of the ‘Other’: Butler’s exploration of how visual frames contribute to the dehumanization of non-Western subjects aligns with postcolonial theory’s critique of how colonial power shapes the representation of the ‘Other’.	“These prisoners are not humans according to the norms established by the convention, and somehow, that legal move… is one that institutes the expectation… that these prisoners are less than human.”
	Cultural Imperialism and Visual Power: Butler critiques the visual power exercised by Western states over the representation of non-Western subjects, highlighting how visual frames perpetuate Western dominance.	“The US soldiers exploit the Muslim prohibition against nudity, homosexuality, and masturbation in order to tear down the cultural fabric that keeps the integrity of these persons in tact.”
Phenomenology	Experience of Seeing and Being Seen: Butler contributes to phenomenology by exploring how subjects experience themselves and others in the act of being photographed, emphasizing the camera’s role in shaping these experiences.	“The camera is, as it were, in the photo, in many of these instances… It allows the event to continue to happen, and I would suggest that, because of the photo, the event has not stopped happening.”
	Ethics of Visibility and Invisibility: Butler’s discussion of the ethics of who is visible and who remains invisible resonates with phenomenological concerns about perception and the ethical implications of what is brought into view.	“What this means, theoretically, is that the image that is represented signifies its admissibility into the domain of representability; that same image thus signifies the delimiting function of the frame even as… it does not represent it.”

Examples of Critiques Through “Torture And The Ethics Of Photography” by Judith Butler

Literary Work	Critique Through Butler’s Lens
Heart of Darkness by Joseph Conrad	Butler might argue that Conrad’s novel reinforces colonial power structures and dehumanizes the Congolese people. The novel’s portrayal of the “darkness” within the colonizers could be seen as a distraction from the colonial violence inflicted upon the natives.
Apocalypse Now by Francis Ford Coppola	The film’s graphic depictions of violence, particularly against Vietnamese civilians, could be analyzed through Butler’s framework as a form of spectacle that desensitizes viewers to the horrors of war. The film might also be criticized for reinforcing Western notions of superiority and the “othering” of Vietnamese people.
The Things They Carried by Tim O’Brien	Butler might argue that O’Brien’s novel, while exploring the psychological trauma of war, also reinforces the idea of the “good soldier” and the necessity of violence in certain situations. The novel’s focus on individual experiences could be seen as neglecting the broader systemic issues that contribute to war and its consequences.
The Handmaid’s Tale by Margaret Atwood	Butler might analyze Atwood’s novel as a critique of patriarchal power structures and the ways in which women are objectified and silenced. The novel’s dystopian vision of a society where women are treated as property could be seen as a warning about the dangers of unchecked authoritarianism and the erosion of human rights.

Criticism Against “Torture And The Ethics Of Photography” by Judith Butler

• Overemphasis on Visual Representation: Some critics argue that Butler’s focus on visual representation is too narrow, neglecting other forms of communication and representation that can also perpetuate harmful power dynamics.
• Relativism: Butler’s approach has been criticized for being too relativistic, suggesting that there are no universal ethical standards when it comes to the representation of violence. This can lead to a slippery slope where any form of representation can be justified.
• Lack of Practical Solutions: Critics argue that while Butler’s essay raises important ethical questions, it offers few practical solutions for addressing the issues of torture and the representation of violence.
• Idealism: Some argue that Butler’s ideals of ethical representation are unrealistic and ignore the realities of power and the limitations of visual media.
• Overlooking the Agency of Victims: Critics have argued that Butler’s focus on the ethical responsibilities of photographers and viewers can overshadow the agency of victims of torture.
• Ignoring the Role of Context: Butler’s analysis has been criticized for being too focused on the intrinsic nature of photographs, neglecting the importance of context in shaping their meaning and impact.

Suggested Readings: “Torture And The Ethics Of Photography” by Judith Butler

Representative Quotations from “Torture And The Ethics Of Photography” by Judith Butler with Explanation

Quotation	Explanation
“The frames that allocate the recognizability of certain figures of the human are themselves linked with broader norms that determine questions of humanization or dehumanization.”	This quote highlights the idea that how we perceive and respond to suffering is influenced by cultural norms and social structures.
“It is essential to the continuing operation of this power not to be seen. Rather, it is precisely a nonfigurable operation of power that works to delimit the domain of representability itself.”	This quote emphasizes the ways in which power structures can operate invisibly to control what is seen and how it is understood.
“The photograph builds the act of torture in its evidentiary form.”	This quote suggests that the act of taking and disseminating photographs can shape our understanding of events and influence how we respond to them.
“We come to interpret that interpretation that has been imposed upon us.”	This quote highlights the idea that representations are not neutral but are shaped by the frames and norms in which they are produced and viewed.
“The operation of the frame… is not precisely representable or, when it is, it risks becoming insurrectionary and becomes subject to state punishment and control.”	This quote emphasizes the ways in which power structures can resist being exposed or challenged.
“The photograph… is not just a visual image awaiting its interpretation; it is itself interpreting, actively, even forcibly.”	This quote suggests that photographs are not passive representations but can actively shape our understanding of the world.
“The norms that govern which lives will be regarded as human lives and which will not, enter into the frames through which discourse and visual representation proceed…”	This quote highlights the ways in which cultural norms and social structures can influence how we perceive and respond to suffering.
“The human is a value and a morphology that is allocated and retracted, aggrandized, personified, degraded and disavowed, elevated and affirmed.”	This quote emphasizes the ways in which the concept of “humanity” is constructed and contested.
“The face of the other that demands from us an ethical response”	This quote suggests that our ethical responsibilities are rooted in our interactions with others.
“The photograph… has the power to move us momentarily, but that they do not have the power to build an interpretation.”	This quote highlights the limitations of photographs in conveying meaning and evoking a lasting response.