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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.
Philip Hammond: Homepage
Media, War and Postmodernity
London, Routledge, 2007
ISBN: 9780415374934 (HB) / 9780415374941 (PB)
Amazon UK / Amazon USA
CONTENTS
Acknowledgements
Introduction: Postmodernism and 9/11
1. Postmodern War in a World without Meaning
2. The Humanitarian Spectacle
3. The Media War on Terrorism
4. Culture Wars and the Post-Vietnam Condition
5. Security and Vulnerability in the ‘Risk Society’
6. Postmodern Empire and the ‘Death of the Subject’
Conclusion: Beyond Postmodernity
Notes
References
Index
Media e Guerra: Visioni Postmoderne
Trans. Augusto Valeriani
Bologna, Odoya, 2008
ISBN: 9788862880060
info@odoya.it
'Hammond provides an excellent discussion of contemporary warfare. The focus on spectacle, image and attempts to make conflict "risk-averse", a kind of warfare without death and killing, is a response to the "crisis of meaning" in Western societies....[The book] Makes a difficult subject accessible and engaging.'
Professor Kevin Williams, Swansea University (read review)
Photographer Susan Meiselas: political motives | Art and design | guardian.co.uk
The Library's daguerreotype collection consists of more than 725 photographs dating from 1839 to 1864. Portrait daguerreotypes produced by the Mathew Brady studio make up the major portion of the collection. The collection also includes early architectural views by John Plumbe, several Philadelphia street scenes, early portraits by pioneering daguerreotypist Robert Cornelius, studio portraits by black photographers James P. Ball and Francis Grice, and copies of painted portraits.
WNYC - The Leonard Lopate Show: Documentary Photography (October 20, 2008)
Photographer and MacArthur fellow Susan Meiselas is best known for her work covering political upheavals in Central America in the 1970s and 80s. The International Center of Photography (ICP) is hosting the first U.S. overview of her work, "Susan Meiselas: In History." It’s on display through January 4, 2009.
Robert Capa - In Love and War | American Masters | PBS
pbs film on capa and the falling man controversy
Charlie Beckett, POLIS Director » Blog Archive » War Reporting: the view from the frontline
War Reporting: the view from the frontline
lcc2.gifWar has come to Polis in the shape of a course I teach at the London College of Communications. After the delights of my 90 minute-long ‘history and concepts’ lecture we got the real thing from journalists who work at the frontline. And our two guests this week have certainly seen conflict up-close. Newspaper foreign correspondent Kim Sengupta and American photojournalist Danfung Dennis are both outstanding war journalists who take their trade seriously. This report from Polis intern Molly Kaplan.
Charlie Beckett, POLIS Director » Blog Archive » Reporting War – why do they do it?
Reporting War – why do they do it?
lcc1.gifPolis has taken to the battlefield with three talks by journalists back from the frontline:
A multi-media man who has been shot in the course of his work for the Guardian and others; a top TV camera journalist who runs his own production company and has made films for the likes of Newsnight as well as a documentary feature out next year; and an Iraqi who has worked through the recent war and now trains a new generation of journalists.
All of them had strong motives for taking the risks and making the extraordinary effort that conflict journalism demands. Here’s a report on their talks to students at the Polis course at the London College of journalism.
British Journal of Photography - Neutral colours
In the first years of the Iraq war, Noor co-founder and Time magazine contributor Yuri Kozyrev travelled behind enemy lines, following the conflict from both the US military and Iraqi insurgents' perspectives. 'I spent a lot of time with both sides,' he says. 'I would be with the rebels and then go across the road, knock on the doors of a palace, go inside and find myself with the US military.'
1854, the blog of the British Journal of Photography
Frontline Club: Irme Schaber talks about Gerda Taro
At last week's Photography event at the Frontline Club, Irme Schaber talked about the life and work of Gerda Taro. If you missed the event, here is your chance to watch the entire debate.
Schaber is a writer and lecturer on the history of exile photography, photojournalism and print-media. She is also Taro’s biographer and curator of the current exhibition at the Barbican. Next week, she will present and talk about a wide selection of Taro’s work.
Taro worked alongside Robert Capa, who was her photographic as well as romantic partner and the two collaborated closely. Her photographs were widely reproduced in the French press and incorporated the dynamic camera angles of New Vision photography as well as a physical and emotional closeness to her subject. While covering the crucial battle of Brunete in July 1937, Taro was struck by a tank and killed.
Unembedded
4 unembedded photogprahers in iraq
YouTube - James Nachtwey - 12th Annual Remarks
Remarks from James Nachtwey, the 2006 recipient of the Heinz Award.
The Heinz Awards were created to provide a message of inspiration to each and every one of us regarding the power of the individual in American society.
YouTube - Photo Journalist Jim Nachtwey at Landstuhl
AFN interview with GQ Photo Journalist Jim Nachtwey at Landstuhl Regional Medical Center.
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