Abstract

This article examines Arno Geiger’s series “Die Bewohner von Château Talbot,” a literary photo-text with complex visual and theoretical implications that has appeared since 2010 in the journal Volltext. In the series, private snapshots of unknown origin are combined with literary texts. Photography and text appear to tell the same story. How does this collaboration function? Under what theoretical conditions does it present itself and where does the fundamental difference between the two media lie?

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