From Library Journal India and the people who live there are the subjects of these books, each of which demonstrates a different approach to the art of documentary photography. A seasoned photojournalist, McCullin first visited India on assignment in the late 1960s. This survey of his photographs from many subsequent visits includes 90 black-and-white and four color imagesAmostly group scenes and portraits. Some of his images are well known, especially the street scenes depicting beggars and the portraits of refugees. These sometimes disturbing images depict a people and their circumstances over the last half of this century and represent an impressive collection for the photographer. Whereas McCullin photographs his subjects in a classic documentary style, with clarity, precision, and a sense of distance, Ackerman takes a more emotional and immediate approach. This young photographer's first book comprises primarily images made in Benares between 1993 and 1997. Though the title refers to the cremation grounds to which people travel from all over India to end their temporal existence, Ackerman's photographs are kinetically alive. His eye ranges from the streets to the cremation grounds, from interior moments to ritual dances. The approximately 70 images depart from straight documentary by inviting bursts of light and dark, blur, grain, and texture as aesthetic components. The result is a compelling collection of charged images. Where McCullin shows us what India and its people look like, Ackerman lets us know what India, especially Benares, can feel like. End Time City would make a good addition to academic collections, and both books should be considered for large public libraries.ADebora Miller, Minneapolis, MN Copyright 1999 Reed Business Information, Inc. Ce texte se rapporte à une édition épuisée ou indisponible de ce titre. La chronique de Lire End Time City Qui est allé à Bénarès sait que cette ville vous renvoie à l'essentiel. Le corps et la spiritualité, la vie et la mort. Impossible de tricher. Cette épreuve de vérité, le New-Yorkais Michael Ackerman (né en Israël en 1967) l'a affrontée avec un regard intense, dépouillé d'artifices. C'est au milieu d'une rue un vieillard nu qui s'apprête à ceindre un rectangle de tissu troué; dans une cour mangée d'ombre, un singe enchaîné, la tête tournée vers le ciel; un cadavre flottant sur le fleuve que regarde un enfant; les murs de la ville aussi dénudés, abîmés, magnifiques que les hommes eux-mêmes; des mains qui se tendent, des regards qui brûlent. Les nus et les morts. Ces images en noir et blanc frappent au coeur et n'épuisent jamais l'énigme profonde qu'elles renferment. --Myriam Boutoulle, Armelle Godeluck, Sylvaine Olive, ©Lire--