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On The Media: Transcript of "A Thousand Words" (March 14, 2008)
A Thousand Words
March 14, 2008
Novelist Jim Lewis once believed that photographs were a necessary part of any wartime tale. Fallujah, however, changed all that. Lewis told us in 2004 that graphic documentation of violence doesn't help anyone understand the story.
VQR » A Window on Baghdad
The window of a Humvee rolling through Baghdad’s dangerous streets is essentially a television, watched in the dark. The glass is dirty and three inches thick: everything has a hazy and muted look, like a rerun of an old seventies movie. Humvees are dim inside even on sunny days; you can see out, but Iraqis can’t see in, any more than a sitcom character can see us when we watch. Even the proportions are right: the older Humvee windows have the squarish shape of an old-fashioned picture tube; the latest armor kits feature wider, more horizontal windows, like the letterbox of plasma screens. And these screens show, for the American soldier-viewers, the day-to-day life of seven million souls: Iraqi children walking to school, men lounging in chairs outside of businesses, a food seller grilling meats. Women swathed in black abayas (so rare before the invasion and so common today) shuffling through the streets. Tall concrete blast walls, everywhere.
VQR
Chris Hondros / A Window on Baghdad
hondros images from windows of humvee in iraq
Nieman Reports | Afghanistan: Pictures Not Taken
Afghanistan: Pictures Not Taken
‘When the press started to feel empowered to show and tell the truth, it was only a matter of time before the military and government powers would retaliate.’
By Travis Beard
Journalist Ash Sweeting rides in a pickup with the Afghanistan National Police. Photo by ©Travis Beard/Argusphotography.
Nothing has more power to communicate the destruction and despair of our time—especially from the war zones of Iraq and Afghanistan—than photography. But in the sanitized and censored environments now of government and military control, taking the picture can be as difficult as getting it published.
In coverage of these wars, freelance photojournalists are indispensible. One after another, news organizations have abandoned the task of informing the public. For editors back home, photojournalists—and the images they transmit—are problematic. But it’s not the photographers who pose the problem; it’s the truth their images tell. During the Vietnam War, there was the searing image of nine-year-old Kim Phouc running down the road with her flesh melting and fusing into her body after a napalm strike and her brother running in front of her with an expression that recalled Edvard Munch’s “The Scream.” This photograph spoke to people in ways that words had failed to do. These children were ones the Americans were supposed to be saving, not bombing. Images such as this one did much to turn the tide of that war, but if they did, it was because they conveyed important truths.
Make Love Not War - Steven Meisel’s Controversial Series | paintalicious
In the September issue of Italian vogue, fashion photographer Steven Meisel (the man behind Madonna’s controversial Sex book) stirs up controversy with his glamorized imagery of the war in Iraq. His ‘Make Love Not War’ series (mostly) depicts sweaty, dirty soldiers in the middle of a war-zone interacting with models in a very “heated fashion” Apparently, claims are being made by ‘Women In Media and News’ suggesting this series of photographs are pornographic and evoke sexualizations of horrific situations, also saying that violence is erotic. Am quiet certain everyone would agree by this “surface” reading, but is that the point of the message? What do they mean to you? Check out the rest.
EurasiaNet.org - Central Asia, Caucasus News
good source of news on central asia and caucasus
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