ed. Bill Nichols (Los Angeles, 1976 ), pp. 325 – 38 ; for a non-visual
definition, see Slavoj Zizek, ‘“The Thing That Thinks”: The Kantian
Background of the Noir Subject’, inShades of Noir: A Reader, ed.
Joan Copjec (London, 1993 ), pp. 199 – 226.
27 See David Green’s illuminating discussion of ‘this’ in ‘Marking
Time: Photography, Film and Temporalities of the Image’, in
Stillness and Time, ed. Green and Lowry, and David Campany, ‘Glass
Camouflage: Photography of Objects, Photography as Object’, in
The Ecstasy of Things: From Functional Object to Fetish in Twentieth
Century Photography, exh. cat., Museum Winterthur Steid ( 2004 ).
28 Sekula has developed a highly reflexive documentary practice,
but it owes little to the history of documentary photography.
Instead, he has looked to experimental documentary film, notably
the work of Chris Marker, Fernando Solanas, Jean-Luc Godard and
Jean Rouch. See Benjamin Buchloh’s conversation with the artist
inAllan Sekula: Performance under Working Conditions, ed. Sabine
Breitwieser, Generali Foundation (Vienna, 2003 ), pp. 20 – 55.154
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