The Mother in the Age of Mechanical Reproduction, written by Elissa Marder, grows out of the author’s longstanding fascination with “the uncanny status of the mother in photography” (frankly, until I read this, I had no idea that mothers had any status in photography). Marder “examines the properties of the maternal function to show that the event of birth is radically unthinkable and often becomes expressed through uncontrollable repetitions that exceed the bounds of any subject,” the act of photographing being one means by which these repetitions are concretized.
Marder’s thesis is that The maternal body serves as an unacknowledged reference point for modern media technologies such as photography, which attempts to mimic its reproductive properties. To the extent that photography aims to usurp the maternal function, it is often deployed as a means of regulating or warding off anxieties that are provoked by the experience of loss that real separation from the mother invariably demands.
So, to summarize: the reason you like photography is because you’re neurotic, and you’re neurotic because your mother didn’t love you enough.
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