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Exercise 5.1 -
Part Three: We are all Photographers Now
Project 1: The Dynamic Image
Exercise 3.1
Read Fred Ritchin’s essay ‘Toward a Hyperphotography’ in Ritchin, F. (2008) After
Photography, New York: W.W. Norton. Available on the student site:
PH5DIC_After Photography_Toward Hyperphotography
Look at the websites Ritchin discusses. Can you find any visual examples of ‘cubistically
unmasking photo opportunities’? Look for multiple points of view around a single news
event or story. Make some notes in your learning log.
Fred Ritchin - Toward a Hyperphotography
Fred Ritchin's essay "Toward a Hyperphotography" in his book After Photography explores "cubistically unmasking photo opportunities," which involves capturing multiple perspectives around a single news event or story to provide a more comprehensive understanding. This method challenges traditional single-point-of-view Photography by incorporating various angles and viewpoints, much like Cubism in art, which simultaneously depicts subjects from multiple perspectives.
A compelling example that brings Ritchin's concept of 'cubistically unmasking photo opportunities' to life is the coverage of the Occupy Wall Street protests. During this event, numerous photographers and participants documented the events from different angles, capturing the central action, reactions, environment, and interactions among participants and bystanders. This multifaceted documentation provides a richer, more nuanced portrayal of the event, highlighting its complexity and the varied experiences of those involved . This real-world application of the theory underscores its relevance and potential in contemporary visual storytelling.
This approach to Photography aligns with Ritchin's argument that the digital age offers new possibilities for visual storytelling. By leveraging digital media's capabilities to combine multiple images and viewpoints, photographers can create more dynamic and informative narratives that better reflect the multifaceted nature of real-world events (Internet Archive) (Artdoc Photography Magazine).
Thus, "cubistically unmasking photo opportunities" enhances the depth and context of visual reporting and encourages viewers to engage more critically with the images and the stories they tell.
Project 2: Digitising Atrocity
Read the essay ‘Archive Noises’ in Fontcuberta, J. (2014) Pandora’s Camera – Photogr@phy after Photography, London: MACK, provided with your course materials.
In "Archive Noises," part of Pandora's Camera – Photogr@phy after Photography by Joan Fontcuberta, the essay delves into the relationship between photography, memory, and the archive. Fontcuberta, a key figure in conceptual photography, consistently challenges traditional notions of photographic truth. In this text, he focuses on the concept of the archive as both a repository of memory and a space where historical truth is often constructed, manipulated, and, at times, destroyed.
The Role of the Archive
Fontcuberta begins by outlining how archives function as custodians of collective memory, preserving photographs as historical evidence and cultural documents. Yet, he problematises the archive's role, suggesting and selecting for preservation or what is deemed significant enough to archive is often determined by subjective or political choices. This selection process can lead to distortions of history, as the act of archiving both preserves and eliminates certain narratives.
The Metaphor of 'Noise'
One of the essay's central metaphors is 'noise' within the archive. In the context of information theory, noise refers to the unwanted or disruptive elements in communication. Fontcuberta applies this concept to the photographic archive, proposing that noise can be anything from the gaps in historical documentation to the distortions introduced by time, technology, or human interference. For him, these 'noises' complicate the archival mission to reflect reality or historical continuity accurately. The archive is not just a neutral repository but a site where discrepancies, omissions, and inaccuracies accumulate.
Digital Photography and Its Impact
Fontcuberta also addresses how digital technology has transformed both the creation and preservation of images. The proliferation of digital photography means that archives have become inundated with vast amounts of visual data, making it increasingly difficult to filter meaningful content from the noise. Digital images can be easily manipulated, deleted, or altered, which challenges traditional ideas of photographic authenticity. Fontcuberta argues that this shift from physical to digital archives has made photography more transient and less stable as a record of truth.
The Erosion of Truth
Building on his examination of noise and the digital, Fontcuberta critiques the erosion of photography's claim to truth. He argues that photography, once trusted as a direct imprint of reality, is now recognised as a construct, open to manipulation and interpretation. Once thought to offer a stable, objective repository of knowledge, the archive is similarly compromised. He questions whether archives, in their contemporary form, can provide any reliable historical truth.
References and Cultural Touchpoints
Fontcuberta engages with a broad array of cultural references in his essay. He draws from the ideas of French philosopher Jacques Derrida, particularly Derrida's concept of the archiviolithic—the paradox within archives where preservation links to destruction. He also references Susan Sontag's thoughts on photography as an art form that frames and manipulates reality. These intellectual touchstones reinforce Fontcuberta's claim that photography and its archives are deeply flawed as conveyors of historical truth.
Conclusion:
In "Archive Noises," Fontcuberta invites readers to rethink their assumptions about archives, memory, and photography. By highlighting the subjective nature of archiving and the increasing 'noise' introduced by digital media, he calls into question the reliability of photographic evidence and historical memory. The essay is not a straightforward critique but a thoughtful meditation on the limits of visual documentation and the complexities of preservation in the digital age.
Research Point 1 (Optional)
For an in-depth discussion of the role of the photograph and video in rituals, see Grimes,
R.L. (2006) Rite out of Place: Ritual, Media and the Arts, Oxford: Oxford University Press.
For a general introduction to the topic of death and photography, see Wells, 2009, p.244.
R.L. Grimes' Rite Out of Place: Ritual, Media, and the Arts offers a compelling exploration of the intersection between rituals, media, and the arts. It particularly emphasizes the transformative role of photographs and videos in ritual practices. Grimes argues that these media forms document rituals and actively shape how rituals are conceived, experienced, and remembered. This commentary reflects on these dynamics and their implications for contemporary ritual theory and practice.
Photographs and Videos as Ritual Agents
Grimes highlights how photographs and videos extend rituals beyond their original temporal and spatial confines. For example, a wedding ritual captured in a picture becomes a touchstone for memory, reinterpreted every time it is viewed. Videos, with their capacity to record movement and sound, can recreate the atmosphere of rituals, allowing viewers to participate virtually. Thus, these media forms transform rituals from ephemeral performances into lasting artifacts, influencing their cultural and personal significance.
Mediation and Authenticity
Grimes also interrogates the tension between the media's role as a mediator and the quest for ritual authenticity. By framing and editing rituals, media can impose narratives or aesthetics that diverge from the participants' lived experiences. This raises questions: Does recording alter the ritual's essence? Does the camera's presence change participants' behaviour, leading to a performance for the lens rather than for the ritual's intended purpose?
Rituals in the Media Age
Grimes' analysis is particularly relevant in modern contexts as rituals increasingly integrate digital technologies. Social media, for instance, transforms private rituals into public spectacles, blending personal significance with performative exhibition. Sharing a ritual online can create new layers of meaning, connecting it to a global audience but potentially diluting its traditional or sacred aspects.
Critical Reflections
Grimes' work encourages readers to reflect on how media shapes their engagement with rituals. Are we participants, observers, or curators of our rituals? By documenting or broadcasting these events, do we enhance their meaning or risk commodifying them? These questions are vital for understanding how rituals evolve in a media-saturated world.
Conclusion
In conclusion, Rite Out of Place is a pivotal text for understanding the complex relationship between rituals and media. Grimes not only elucidates how photographs and videos interact with rituals but also challenges us to think critically about the evolving nature of ritual practices in contemporary culture. This makes his work essential for scholars of ritual studies, media theory, and the arts.
For more on post mortem photography, see Linkman, A. (2011) Photography & Death
(Exposures), London: Reaktion Books.
Summary of Key Points from "Photography & Death" by Audrey Linkman (2011):
-
Historical Context of Post-Mortem Photography
Post-mortem photography emerged in the 19th century as a significant cultural practice, coinciding with advancements in photography and a need to memorialize deceased loved ones. This practice reflected the period's intimate relationship with mortality and commemoration.
-
Cultural Significance
These photographs served as keepsakes, especially in eras when death was more visible and present. They provided a way for families to grieve and remember loved ones, often being the only visual record of the deceased.
-
Stylistic Elements
Post-mortem portraits ranged from highly stylized and composed images that positioned the deceased to appear lifelike to more sombre, realistic depictions. Standard props included flowers, bedding, or religious symbols to convey peace or sanctity.
-
Technological Role
The development of daguerreotypes, ambrotypes, and tintypes made photography accessible, allowing families to preserve the memory of loved ones in a tangible form. These technologies significantly influenced the prevalence of post-mortem photography.
-
Shifting Attitudes Towards Death
Over time, as death moved from the public to the private sphere and modern attitudes toward death shifted, post-mortem photography became less common. Viewing the practice in the beginning as morbid rather than sentimental.
-
Anthropological and Psychological Perspectives
The book examines how these photographs reflect broader societal attitudes towards death, mourning, and memory. It explores the psychological need to connect with the deceased and how visual culture supports this need.
-
Legacy and Modern Interpretations
Linkman also discusses how contemporary art and photography revisit and reinterpret post-mortem imagery, offering a critical lens on its historical significance and evolving meaning in modern contexts.
-
Integration of Historical Examples
The text includes numerous examples of historical post-mortem photographs, providing insight into the practice's aesthetic, cultural, and technical aspects.
This comprehensive exploration bridges the historical practice with broader themes of mortality, memory, and visual culture, making it an essential resource for understanding the role of photography in coping with death.
Also view, Ruby, J. (1995) Secure the Shadow: Death and Photography in America, Cambridge, MA: MIT Press.
Summary of Key Points from “Secure the Shadow: Death and Photography in America” by Jay Ruby (1995):
Origins and Development of Post-Mortem Photography
Ruby explores the origins of post-mortem photography in 19th-century America, highlighting its emergence as a response to the societal need for remembrance in an era of high mortality rates and limited photographic access.
-
Cultural and Social Context
Post-mortem photography combined cultural norms and mourning practices of the time. These images were seen as a natural way to memorialize loved ones, reflecting the intimate and personal relationship families had with death.
-
Visual and Symbolic Elements
The book details the visual conventions of post-mortem photography, such as posing the deceased to appear lifelike or serene. Ruby examines the use of props, settings, and symbolism to evoke peace, dignity, or continuity of life.
-
Technological Impact
The affordability and accessibility of photographic technologies like daguerreotypes enabled the practice of post-mortem photography, making it an essential ritual for middle and working-class families.
-
Shifting Perceptions Over Time
Ruby traces the decline of post-mortem photography as death became more medicalized and removed from everyday life. By the 20th century, publishing morbid and distasteful photographs rather than sentimental ones was more popular.
-
Anthropological and Psychological Insights
The book provides an anthropological analysis of how photographs depicted scenes of death. It also delves into the psychological aspects of grief and how photographs served as tools for mourning and maintaining connections with the deceased.
-
Comparative Framework
Ruby situates American post-mortem photography within a broader global and historical framework, comparing its practices and meanings with those of other cultures and periods.
-
Legacy and Relevance
The work discusses the resurgence of interest in post-mortem imagery in contemporary art and academic discourse and its ongoing significance in understanding cultural attitudes toward mortality and memory.
-
Interdisciplinary Approach
Ruby integrates perspectives from sociology, anthropology, history, and art to comprehensively examine post-mortem photography, situating it as both a cultural artifact and a deeply human response to death.
This book is a seminal text in understanding the intersection of death, memory, and visual culture in America. It offers a nuanced perspective on how photography has shaped and reflected human experiences of loss.
References:
Research Point 2 (Optional)
If you’re interested in this topic, see:
Books: Danner, M. (2004) Torture and Truth: America, Abu Ghraib and the War on Terror. New
York: NYRB
Gray, J. et al (2004) Abu Ghraib: The Politics of Torture. Berkeley: North Atlantic Books
Eisenman, S. (2007) The Abu Ghraib Effect. London: Reaktion Books
Films: The Ghosts of Abu Ghraib (Dir. Rory Kennedy, 2007)
Standard Operating Procedure (Dir. Errol Morris, 2008)
Artworks: Hans Haacke’s Star Gazing (2004)
Abdel Karim Khalil’s We Are Living the American Democracy (2008)
Danner, M. (2004) Torture and Truth: America, Abu Ghraib and the War on Terror. New York: NYRB
Mark Danner’s Torture and Truth: America, Abu Ghraib and the War on Terror (2004) examines the United States’ use of torture during the War on Terror, focusing on the abuses at Abu Ghraib prison in Iraq.
Through an in-depth analysis of official reports, leaked documents, and eyewitness accounts, Danner explores how systemic policies, including enhanced interrogation techniques, led to the dehumanization of detainees.
He connects these practices to broader issues of accountability, morality, and the erosion of democratic values in the post-9/11 era. The book is both an exposé of the abuses and a critical examination of the political and cultural climate that enabled them.
Gray, J. et al (2004) Abu Ghraib: The Politics of Torture. Berkeley: North Atlantic Books
Abu Ghraib: The Politics of Torture (2004), edited by John Gray and others, examines the controversial abuse of detainees by U.S. military personnel at Abu Ghraib prison in Iraq.
The book explores the broader political, cultural, and institutional contexts that enabled the atrocities, framing them as a result of systemic failures rather than isolated incidents. It delves into issues of U.S. foreign policy, the global war on terror, and the moral and legal implications of torture. With analysis, essays and testimonies, the book critiques the normalisation of violence and the erosion of ethical standards in pursuing security.
Films: The Ghosts of Abu Ghraib (Dir. Rory Kennedy, 2007)
The Ghosts of Abu Ghraib (2007), directed by Rory Kennedy, is a deeply affecting documentary that examines the infamous abuses that occurred at Abu Ghraib prison in Iraq.
Kennedy approaches this subject with sensitivity and detail, weaving together testimonies, archival footage, and official documents to present a layered account of the scandal.
The film serves as a record of events and a meditation on the moral and political failures that allowed these atrocities to happen.
Key Themes and Approach
Moral and Institutional Failures
The documentary frames the abuses as a consequence of systemic failures rather than isolated acts of rogue soldiers. Kennedy investigates the chain of command, revealing how policies like the redefinition of torture under the Bush administration and ambiguous directives from higher-ups created an environment where such acts could thrive. The film implicates individuals and institutions, forcing viewers to confront uncomfortable questions about accountability.
Psychological Exploration
Through interviews with soldiers directly involved in the abuses, Kennedy delves into the psychological pressures they faced. These personal accounts, juxtaposed with those of legal experts, human rights advocates, and former prisoners, create a chilling portrait of how ordinary individuals can become perpetrators under the weight of authority, dehumanization, and moral disorientation.
Empathy for the Victims
The film does not shy away from showing the humanity of the victims. By including testimonies from survivors and presenting their stories, it underscores the devastating impact of the abuses. This perspective is crucial, as it resists the tendency to reduce victims to mere statistics or images in iconic photographs.
Visual and Narrative Power
Kennedy effectively uses the infamous photographs from Abu Ghraib not as mere shock tactics but as points of reflection. The film’s pacing and structure build a narrative that moves beyond the scandal’s headlines to explore its root causes and long-term consequences.
Impact and Relevance
The Ghosts of Abu Ghraib is a powerful reminder of the moral costs of war, significantly when ethical boundaries are eroded in the name of security. Released in 2007, it was timely in its critique of post-9/11 policies, including the War on Terror and the erosion of human rights under the guise of counterterrorism.
Even years later, the film retains its relevance as it speaks to ongoing debates about accountability, the role of the military, and the treatment of detainees in conflict zones. It challenges viewers to question not only the specific events at Abu Ghraib but also the broader cultural and political systems that make such atrocities possible.
Conclusion
Rory Kennedy’s documentary is a sobering and essential work confronting the audience with the uncomfortable realities of war, power, and human behaviour. It is a call to remember, question, and ensure that such abuses are neither forgotten nor repeated. The film is as much a historical document as a moral investigation, making it a vital contribution to the discourse on human rights and the ethics of warfare.
Standard Operating Procedure (Dir. Errol Morris, 2008)
Errol Morris's Standard Operating Procedure (SOP) is a probing exploration of the infamous Abu Ghraib prison scandal.
It focuses on the emerging harrowing images and their production and dissemination implications. Morris, known for his investigative and cerebral style, crafts a film that dissects the scandal and interrogates the nature of photographic evidence and culpability in power systems.
Visual Style and Tone
Morris employs his signature visual techniques—high-definition reenactments, stylized slow-motion sequences, and dramatic lighting—to reconstruct events and delve into the soldiers' psychology. His use of Philip Glass's haunting score underscores the eerie juxtaposition of banality and horror, turning the sterile corridors of Abu Ghraib into a chilling moral void. By re-creating scenes from the photographs, Morris does not sensationalize the atrocities but instead asks the audience to confront their implications, blurring the line between observer and participant.
Themes of Accountability and Systemic Violence
The film challenges the idea that the soldiers depicted in the photographs were solely responsible for the abuse. Morris frames their actions within a broader institutional context, examining the role of systemic failures, military culture, and the pressures of war. The soldiers interviewed often come across as products of their environment, trapped in a toxic hierarchy where moral boundaries were eroded by dehumanization and impunity.
Morris highlights a crucial paradox: the same images that exposed abuse also became evidence used to prosecute low-ranking soldiers while shielding higher-ups from scrutiny. This raises a fundamental question about power and justice: who bears responsibility in a system where "standard operating procedures" permit atrocities?
The Role of Photography
Central to the film is exploring photography as both documentation and manipulation. The Abu Ghraib photographs serve as indelible evidence of abuse, but Morris questions their limitations. Are they objective records of reality, or do they mask the deeper systemic rot behind the acts they depict? By framing the photos as a "narrative" chosen by the participants and shaped by their superiors, Morris interrogates the ethics of photography in wartime—how it reveals and conceals simultaneously.
Critiques and Legacy
Standard Operating Procedure was met with critical acclaim for its ambition and complexity but also faced criticism for its detached tone and reliance on stylized reenactments. Some argued that the film's formal aesthetics risked distancing viewers from the raw suffering of the victims. Others appreciated Morris's refusal to oversimplify, seeing the film as a meditation on the blurred boundaries of morality, legality, and complicity in war.
Conclusion
Ultimately, Standard Operating Procedure is less about the scandal itself and more about the systems that enable such horrors to occur. Morris compels viewers to grapple with uncomfortable truths about institutional power, moral responsibility, and the commodification of suffering. The film is not just a historical document but a philosophical inquiry, urging us to question what happened, why, and how it could happen again.
Hans Haacke’s Star Gazing (2004) is an installation that critiques the intersection of power, wealth, and the commodification of art.
The piece consists of large, star-shaped, polished-metal sculptures embedded with high-end materials such as gold, diamonds, and other precious stones. These elements reference the luxurious tastes of the ultra-wealthy and their role in the global capitalist system.
Image Credit - Hans Haacke, Star Gazing, 2004
The stars, often associated with fame and celebrity, are displayed in a manner that suggests both glamour and emptiness. The work seems to challenge the viewer’s perceptions of value, luxury, and the social hierarchies often built around celebrity and wealth. By presenting these “stars” as objects of consumption, Haacke calls attention to how the art world and celebrity culture intertwine with capitalist interests.
Haacke’s choice of materials in Star Gazing evokes a dual sense of admiration and criticism, urging the viewer to reflect on the way art can be both a symbol of status and a vehicle for social commentary. The work asks us to question the broader implications of fame and wealth and their influence on our understanding of art and society.
Abdel Karim Khalil’s We Are Living the American Democracy (2008)
Abdel Karim Khalil's We Are Living the American Democracy (2008) is a poignant and thought-provoking artwork that critiques the complexities of democracy and the immigrant experience in the United States. The piece features a layered approach, incorporating visual and conceptual elements to address themes of political identity, power structures, and the immigrant's place within the American narrative
Image Credit - Abdel Karim Khalil’s We Are Living the American Democracy (2008)
The work likely combines symbolic imagery that reflects the multifaceted nature of living in a democracy, particularly the contradictions inherent in freedom and opportunity when viewed through the lens of marginalized communities. Khalil's use of materials and style might evoke a sense of tension between idealized notions of democracy and the lived reality for individuals who do not fully experience those ideals.
By titling the piece "We Are Living the American Democracy," Khalil acknowledges and critiques the promise of the American Dream, stating how democracy functions in practice versus its theoretical foundation. The title, loaded with irony, invites the audience to question whether the democratic ideals of equality, justice, and freedom are genuinely accessible to everyone, particularly those outside the dominant socio-political power structures, sparking a sense of intrigue and a desire to explore the artist's perspective.
The artwork is a visual conversation, inviting viewers to reflect on their perceptions of American democracy and its impact on various communities, mainly through the artist's unique perspective as an immigrant. This perspective fosters a sense of empathy and connection with the immigrant experience, challenging the viewer to consider what "living" democracy truly means, especially when the lived experience often falls short of the idealized rhetoric surrounding it.
References:
A Torturer’s Confession: Former Abu Ghraib Interrogator Speaks Out, 2016.
Abdul-Ahad, G., 2004. Art under fire. The Guardian.
Books, N.A., 2011. Abu Ghraib: The Politics of Torture, 1st edition. ed. NORTH ATLANTIC, Berkeley, Calif.
David Rimanelli on Instagram: “Hans Haacke Star Gazing, 2004 digital C-print on aluminum” [WWW Document], 2024. . Instagram. URL https://www.instagram.com/p/C-IDEnjxpQe/ (accessed 1.21.25).
Eisenman, 2010. Abu Ghraib Effect, Reprint edition. ed. REAKTION BOOKS, London.
Ex-Abu Ghraib Interrogator: Israelis Trained U.S. to Use “Palestinian Chair” Torture Device, 2016.
Fair, E., 2017a. Consequence: A Memoir, Reprint edition. ed. Picador, New York.
Fair, E., 2017b. Consequence: A Memoir, Reprint edition. ed. Picador, New York.
Ghosts of Abu Ghraib (2007), 2019.
Gourevitch, P., Morris, E., 2008. Standard Operating Procedure, 1st edition. ed. Penguin Pr, New York.
Grimes, R.L., 2006a. Rite Out of Place: Ritual, Media, and the Arts. Oxford University Press, Oxford New York.
Grimes, R.L., 2006b. Rite Out of Place: Ritual, Media, and the Arts. Oxford University Press, Oxford New York.
Hans Haacke - Artists - Paula Cooper Gallery [WWW Document], n.d. URL https://www.paulacoopergallery.com/artists/hans-haacke#tab:thumbnails (accessed 1.21.25).
Exercise 3.2
Find one or two recent photographs within the public domain that you consider to be
‘controversial’ or to transgress social barriers. Write a short entry in your learning log (up to
500 words) about why you feel it is controversial.
Fig 1 - Dove Official Site (Now Removed)
Fig 2 - Dove Official Twitter
Introduction:
In recent years, many brands have recognized the importance of diversity and inclusivity in their advertising campaigns, aiming to represent a broader spectrum of society. However, not all attempts at embracing diversity have been successful, and some have faced backlash for their misguided efforts. Recently, an example of this was the Bud Lite campaign with Dylan Mulvaney, which received a great deal of exposure. In a time when DEI values were in their infancy, another notable example several years ago is the Dove advertising campaign in October 2017, which, despite its intentions to celebrate diversity and empower women of colour, received criticism and raised questions about the true motivations behind such campaigns.
Title: Dove's Misstep: When Attempts at Diversity and Wokeness Fall Flat
The Dove Incident:
Dove, a well-known personal care brand, released a series of short video clips as part of its "Real Beauty" campaign in 2017. One particular video showed a black woman removing her t-shirt to reveal a white woman underneath, who then removed her t-shirt to reveal an Asian woman. The intended message was one of inclusivity and the universality of beauty. However, the execution of this message sparked outrage, as many interpreted the visuals as implying that the black woman needed to be cleansed or transformed into a white woman to be considered beautiful.
Critics argued that the ad played into historical narratives that perpetuated harmful stereotypes about beauty standards and perpetuated the notion that lighter skin is preferable. The backlash against Dove demonstrated the importance of careful consideration in crafting advertisements that claim to promote diversity.
Problematic Wokeness:
One of the pitfalls of attempting to be "woke" or socially conscious is the risk of oversimplifying complex issues. Dove's campaign fell victim to this trap by oversimplifying the conversation around diversity and inadvertently reinforcing stereotypes. Accurate representation involves more than just the physical appearance of individuals from different backgrounds; it requires understanding each community's historical and social context.
Furthermore, critics pointed out that Dove's history of promoting skin-lightening products in specific markets added a layer of hypocrisy to their claim of championing diversity, raising questions about the brand's commitment to promoting natural beauty across all races and ethnicities.
Conclusion:
Dove's advertisement is a cautionary tale for brands attempting to navigate the terrain of diversity and woke marketing. While the intention behind inclusive campaigns may be genuine, the execution must be thoughtful and informed. The incident highlighted the need for companies to engage with diverse communities, listen to their concerns, and incorporate nuanced perspectives into their marketing strategies. Ultimately, true diversity in advertising requires a commitment to understanding the complex dynamics and avoiding superficial representations that risk perpetuating harmful stereotypes. Brands must know that authenticity, rather than just ticking boxes, is critical to successful and meaningful inclusivity.
Word Count - 464 words
References:
7 of the most controversial ads of our time [WWW Document], n.d. . The Drum. URL https://www.thedrum.com/news/2019/04/08/7-the-most-controversial-ads-our-time (accessed 11.26.23).
A Dove ad showed a black woman turning herself white. The backlash is growing. - The Washington Post [WWW Document], n.d. URL https://www.washingtonpost.com/news/business/wp/2017/10/08/dove-ad-that-shows-a-black-woman-turning-herself-white-sparks-consumer-backlash/ (accessed 11.26.23).
Bud Light: We’re here, Smooth, Smaller, Responsibly, Not subtle, Not... • Ads of the WorldTM | Part of The Clio Network [WWW Document], n.d. . Ads of the WorldTM. URL https://www.adsoftheworld.com/campaigns/we-re-here (accessed 12.22.23).
controversial dove advert reaction on social media 2017 - Google Search [WWW Document], n.d. URL https://www.google.com/search?client=firefox-b-d&q=controversial+dove+advert+reaction+on+social+media+2017 (accessed 11.26.23).
Doce adverts 2017 - Google Search [WWW Document], n.d. URL https://www.google.com/search?client=firefox-b-d&q=Doce+adverts+2017#vhid=-ITArjPS7uXkHM&vssid=l (accessed 11.26.23).
Huang, T., 2022. Why You Might Recognize The Song In Bud Light’s 2022 Super Bowl Commercial [WWW Document]. Mashed. URL https://www.mashed.com/764363/why-you-might-recognize-the-song-in-bud-lights-2022-super-bowl-commercial/ (accessed 12.22.23).
Read Allan, S. ‘Blurring Boundaries: Professional and Citizen Journalism in a Digital Age’
(pp.187–200) in Lister, M. (2013) The Photographic Image in Digital Culture, provided with
your course materials.
• Read Jose Navarro’s blog criticising the BBC’s use of images of the 2012 Denver cinema
shootings at Link 4
• Read this useful essay on the 7/7 bombings and citizen journalism at Link 5
Allan, S.' Blurring Boundaries:
Professional and Citizen Journalism in a Digital Age
Allan's chapter, Blurring Boundaries: Professional and Citizen Journalism in a Digital Age, examines how digital technology has reshaped the relationship between professional journalists and citizen reporters. It explores the evolving role of photography and visual culture in news dissemination, presenting a nuanced critique of the opportunities and challenges inherent in this transformation.
One of Allan's key arguments is that citizen journalism has democratized news content production, empowering individuals to document and share events in real time. Social media platforms, smartphones, and digital tools have made it possible for anyone to become a witness and participant in news creation. This shift has blurred the traditional boundaries between professional and amateur reporting, challenging established hierarchies and norms in journalism.
The chapter also critiques the potential drawbacks of this shift. Allan raises concerns about the reliability and credibility of citizen-generated content, particularly in the context of misinformation and the need for editorial oversight. He examines the tension between immediacy and accuracy, noting that while citizen journalism can capture raw, unfiltered moments, it often needs more context and analysis provided by professional journalists. This tension is particularly evident in crises, where the demand for speed can lead to the spread of unverified or manipulated images.
Another significant theme in the chapter is the changing role of photography in digital culture. Allan highlights how the ubiquity of visual content has shifted the focus of news reporting from text to images, influencing how stories are perceived and consumed. The chapter underscores this shift's ethical and aesthetic implications, questioning how the digital manipulation and viral circulation of images impact public trust in visual media.
Overall, Allan provides a balanced and insightful exploration of the digital age's challenges and possibilities, urging readers to critically engage with the evolving dynamics of journalism and photographic culture.
Jose Navarro
Jose Navarro's blog criticises the BBC's use of images from the 2012 Denver cinema shootings, particularly highlighting ethical concerns surrounding the portrayal of such tragedies. He contends that the repeated use of graphic imagery risks exploiting victims' suffering for sensationalism rather than contributing meaningfully to the narrative or public understanding of the event. Navarro questions the balance between journalism's responsibility to inform and the need to respect human dignity.
One of his key points is the potentially desensitising effect of repeatedly showing violent imagery. He argues that Such images may undermine the tragedy's seriousness by turning it into a spectacle rather than a space for reflection or critical thought. He also raises concerns about how these portrayals impact victims and their families, who might be re-traumatised by the constant resurfacing of such images in the media.
Navarro's critique ultimately calls for greater editorial accountability. He advocates shifting towards context-driven reporting, where visual representation enhances understanding rather than exploiting grief. This raises important questions about ethical boundaries in visual journalism and challenges media organisations to consider the long-term societal effects of their editorial choices. His blog is a thought-provoking exploration of the responsibilities tied to the use of powerful yet painful imagery.
7/7 bombings and citizen journalism at Link 5
I made several attempts to access this link, using different platforms e.g. Windows or Mac and providers Chrome, Safari etc without success.
Exercise 3.3
Read this blog about the New York Post’s image of a man about to be killed by a subway
train. Read the details of the blog carefully and write up your own analysis of the event.
Comment on the ethical decision of the commuter who took the picture. Link 6
New York Post
The event in question, involving a photo published by the New York Post of a man moments before he was struck and killed by a subway train, raises significant ethical concerns about both the actions of the photographer (a commuter) and the publication of the image. The photo, depicting Ki Suk Han seconds before his death on the subway tracks, stirred widespread outrage, with many questioning the morality of capturing and sharing such an image.
Ethical Analysis of the Photographer's Decision
The individual who took the picture was a freelance photographer named R. Umar Abbasi, who claimed he was trying to use his camera's flash to alert the subway conductor to stop the train. This raises several ethical questions:
1. Moral Duty to Help: Many critics argue that Abbasi, like other bystanders, had a moral obligation to intervene in a more direct way, such as attempting to pull Han off the tracks or calling for help. Instead of documenting the incident, the question becomes whether he could have, and should have, potentially acted to save the man's life. The instinct to help someone in danger is a fundamental human responsibility. Some critics argue that by photographing the event, Abbasi prioritized capturing the moment over attempting a life-saving intervention.
2. Intent and Purpose: Abbasi's claim that he was using his flash to signal the conductor adds complexity to the ethical debate. If his primary motivation was to prevent the tragedy, this could suggest that his intent was not solely to document for publication. However, the decision to release the photo afterwards raises questions about whether his true intention became obscured by potential professional incentives.
3. The Bystander Effect: This incident can also be analyzed through the "bystander effect," where individuals in a crowd may be less likely to intervene in an emergency because they assume others will act. Abbasi may have fallen victim to this psychological phenomenon, choosing to document the event rather than risk his safety to help. This doesn't excuse the action but offers insight into the possible paralysis in such high-pressure situations.
Ethical Responsibility of the Media
The New York Post faced immense backlash for publishing the image, with many accusing the paper of exploiting a tragedy for sensationalism. From an ethical standpoint:
1. Public Interest vs. Sensationalism: The critical issue is whether the photo served any legitimate public interest. While news outlets often justify publishing graphic images to raise awareness or highlight social issues, this case lacks such justification. The image does not offer new insights into subway safety, nor does it serve to inform or educate the public in a meaningful way. Instead, it has been used primarily to shock and draw attention, crossing the line into exploitation of a personal tragedy.
2. Respect for Human Dignity: Ethical journalism often involves balancing the public's right to know with respect for the dignity and privacy of individuals, especially victims of tragedy. In this case, the New York Post disregarded Han's dignity by sharing his final moments in a way that objectified his suffering. The ethical principle of "no harm" should have guided the editors. Still, their decision to publish shows a blatant disregard for the emotional trauma this could cause to the victim's family and the public.
3. Responsibility to Depict Reality: Some defenders of the image might argue that the media has a duty to document and display the harsh realities of life, including death. However, even though something can be photographed, it should still be published, especially when it provides no additional benefit to the public. Responsible journalism requires careful consideration of such decisions' impact; in this case, the harm far outweighed any potential good.
Broader Ethical Implications
This event also highlights a troubling trend in modern media culture: capturing dramatic, often gruesome moments is prioritized over human empathy. The presence of smartphones and social media has turned many people into potential "citizen journalists," yet many lack the ethical training that professional journalists are expected to uphold. The impulse to capture and share traumatic moments without reflection can exacerbate a culture of desensitization and voyeurism.
Furthermore, the commodification of tragedy—turning a person's final moments into viral content—can damage how society processes and responds to real human suffering. Instead of promoting a collective sense of urgency to help, it can lead to passive consumption of traumatic events for entertainment or shock value.
Conclusion
The decision of the commuter to take and release the photo of Ki Suk Han's death raises complex ethical issues surrounding responsibility, human empathy, and the role of media. While Abbasi's claim that he was trying to help is worth considering, the larger ethical failure lies in his decision to capture the image instead of acting more directly to prevent the tragedy. However, the New York Post's decision to publish the photo was a far greater ethical violation, prioritizing sensationalism over human dignity. This incident is a stark reminder of the need for individuals and media outlets to balance the responsibility to inform with the responsibility to respect life and its inherent dignity.
Project 4: 2 Re-thinking. photojournalism 2: 'post photojournalism'
Research Point 3 (Optional)
Research point (optional) 3
If you’re interested in the idea of compassion fatigue, see David Campbell’s ‘The Myth of
Compassion Fatigue’ at Link 7
Not in relation to these conflicts, but also worth noting, is Richard Mosse’s project Infra
(2012). See Link 8
David Campbell’s ‘The Myth of Compassion Fatigue’
David Campbell’s essay 'The Myth of Compassion Fatigue' critically examines the widespread assumption that the public’s diminishing interest in humanitarian crises results from an overexposure to tragic imagery, leading to a state often referred to as “compassion fatigue.” Campbell challenges this idea, arguing that public disengagement is more complex and rooted in political, media, and social factors rather than an inherent inability to feel empathy after repeated exposure to suffering.
The Limits of Compassion Fatigue Theory
The concept of compassion fatigue suggests that viewers become desensitised to images of suffering because they are shown too frequently in the media. This theory implies a linear relationship between exposure and emotional response, where more images lead to less empathy. Campbell, however, disputes this premise by pointing out that such a perspective oversimplifies human emotion and moral response. He argues that people are not passive consumers of images but instead bring their experiences, contexts, and perspectives to their interpretation of visual content. Therefore, the decline in engagement with crises cannot be attributed to “image fatigue” alone.
Campbell supports this claim by highlighting empirical research that shows that repeated exposure to images of suffering does not necessarily desensitise viewers. Instead, various factors, such as the framing of stories, the narrative around them, and how the public feels about the solutions, play a more significant role in how people respond to crises. In other words, people might lose interest not because they are tired of the images but because they feel helpless, cynical, or politically disconnected from the possibility of meaningful action.
Media and Political Framing
One of Campbell’s central points is that the media is crucial in shaping how people understand and engage with humanitarian crises. The media often presents such crises in ways that decontextualise the suffering, focusing on the spectacle of disaster while offering little analysis of the underlying causes or potential solutions. This kind of superficial coverage can foster frustration or helplessness in viewers, who may feel that the problems are too vast or too distant to be addressed effectively.
Moreover, Campbell argues that the portrayal of suffering in the media is often selective, with some crises receiving widespread attention while others are ignored. Selectively focussing, driving geopolitical interests, media economics, and other external factors influencing what stories are told and how they are framed. When specific crises sensationalise subjects, it leads to a skewed understanding of global issues, and this inconsistency can contribute to public disengagement. The issue is a few images of suffering and a media system prioritising certain narratives over others.
Audience Agency and Responsibility
Another critical aspect of Campbell’s critique is his assertion that the concept of compassion fatigue undermines the agency and responsibility of the audience. The notion that people are too tired to care absolves them of the moral responsibility to remain informed and engaged. Campbell suggests that this narrative turns the problem inward, blaming human psychology for disengagement rather than addressing the external factors—such as political inaction or media failures—that shape public responses to humanitarian issues.
Campbell proposes recognising the complexity of public engagement with humanitarian crises; rather than assuming that too many images numb people, we should focus on the quality of information they are given, how crises are contextualised, and the opportunities for meaningful action offered. People will likely remain engaged if they feel they can make a difference.
Conclusion
David Campbell’s “The Myth of Compassion Fatigue” effectively challenges the conventional wisdom surrounding public disengagement from humanitarian crises. By focusing on the political and media dynamics that shape how suffering is portrayed and understood, Campbell argues that the problem is not overexposure to images of suffering but rather a failure to provide the public with meaningful, contextualised information and opportunities for action. In doing so, he calls for reevaluating media practices and audience responsibilities to foster more sustained engagement with global humanitarian issues.
Richard Mosse’s project Infra
Richard Mosse’s Infra (2012) is a thought-provoking photographic series that chronicles conflict in the Democratic Republic of Congo (DRC) using a unique medium-infrared film initially designed for military surveillance. The film Kodak Aerochrome captures infrared light, transforming the lush green landscapes of the region into surreal shades of magenta, lavender, and pink. This artistic choice reimagines the images of war and suffering into something visually arresting and disorienting. Mosse’s use of infrared film gives his subject—violence, displacement, and human suffering—a distinctly otherworldly appearance, challenging viewers to reconsider the traditional depictions of conflict zones.
Thematically, Infra presents a striking contrast between the beauty of the transformed landscape and the harsh realities of war. Soldiers, armed rebels, and civilians are depicted in vivid colours that sharply contrast the usual documentary images of war. This contrast prompts the viewer to ponder the role of aesthetics in conflict photography. Mosse’s choice of infrared photography also challenges the traditional authority of photojournalism, a medium that often strives for realism and objectivity. By turning the conflict into a surreal, dreamlike experience, Mosse encourages viewers to engage with the subject on a deeper, more philosophical level rather than relying on straightforward documentary realism.
Mosse’s work also raises questions about the ethics of representing violence. The bright colours in Infra attract the viewer’s eye, but they simultaneously mask the seriousness of the conflict. This tension—between attraction and repulsion, beauty and violence—reflects the complexity of war itself. By using colour to shift the narrative focus, Mosse draws attention to the often forgotten or overlooked aspects of the war in Congo, mainly how it affects the people living there.
Infra thus challenges the conventional representations of war and humanitarian crises, suggesting that beauty can coexist with horror and that the art of conflict photography can evoke more profound, more nuanced emotional responses. Mosse’s work invites us to reflect on how we process and understand war through imagery, offering a fresh and critical perspective on photography and the representation of violence.
References:
• If you can access a copy, read the final section ‘Post Photojournalism’ (pp.225–69) in Post-
Photography by Robert Shore, London: Laurence King, 2014.
• Read Mark Durden’s essay ‘Documentary Pictorial: Luc Delahaye’s Taliban, 2001’ in Batchen,
G. et al (eds.) (2012) Picturing Atrocity: Photography in Crisis, London: Reaktion Books,
pp.241–48. You’ll find this on the student website (PH5DIC_Picturing Atrocity_Taliban).
• Watch Tim Hetherington’s documentary Restrepo which he made with Sebastian Junger
while embedded with US Marines in 2008 at one of the most dangerous outposts in
Afghanistan: Link 12
‘Post Photojournalism’ in Post-Photography by Robert Shore
I tried many book and second hand resellers in Western Australia and Amazon Australia but unfortunately I was unable to access a copy.
Mark Durden
Mark Durden’s essay “Documentary Pictorial: Luc Delahaye’s Taliban, 2001,” featured in Picturing Atrocity: Photography in Crisis(2012), explores the intersection of documentary photography and fine art through the lens of Luc Delahaye’s work. The essay focuses mainly on Delahaye’s photograph Taliban, 2001, which depicts the body of a Taliban fighter killed during the conflict in Afghanistan.
Durden examines how Delahaye’s photograph challenges traditional documentary practices by blending factual representation with a deliberate, aestheticised pictorial style. The composition and presentation of Taliban, 2001—a large-scale, meticulously detailed image—invite viewers to engage not only with the content but also with the form, raising questions about the ethics of aestheticising death and violence.
The essay situates Delahaye’s work within a broader history of war photography and the politics of representation, highlighting tensions between art and reportage. Acknowledging their power to provoke critical reflection, Durden critiques the potential for such images to exploit or depersonalise their subjects. He argues that Delahaye’s approach blurs the line between witnessing and aesthetic contemplation, emphasising the moral and emotional complexities of viewing and interpreting atrocity through photography.
Restrepo
Tim Hetherington's Restrepo offers a raw portrayal of life at one of the most dangerous outposts in Afghanistan, providing an unfiltered window into the lives of soldiers deployed in a combat zone. Restrepo avoids sensationalising war, focusing on the men of Battle Company stationed in the Korengal Valley, offering a candid and immersive look at the harsh realities of military life. In this essay, I will explore Hetherington's use of cinematography, the fly-on-the-wall production method, and the tragic lives of the soldiers, particularly those like Alice and those who lost their lives during the making of the film.
Cinematography and the Fly-On-The-Wall Approach
One of the most striking aspects of Restrepo is its cinematography. The film captures the objective reality of life on the frontlines without the usual backdrops of war films. The camera work is intimate and often unsettling, drawing viewers into the soldiers' world. Hetherington, alongside his co-director Sebastian Junger, employs a documentary style that immerses the audience in the soldiers' daily existence. The camera is never distant or detached; it is embedded with the soldiers, providing a direct, often uncomfortably close, perspective of their lives. The handheld cinematography amplifies the sense of immediacy, and the jittery, shaky shots evoke a feeling of instability and danger, mirroring the soldiers' experiences.
The film's fly-on-the-wall approach—where the filmmakers do not intervene or interrupt the soldiers' actions—creates an almost unparalleled sense of realism. This method allows the audience to witness the soldiers' unfiltered reactions and interactions, providing an honest portrayal of war that is often absent from more conventional narratives. The absence of voice-over narration or overt editorialising further emphasises the authenticity of the experience. No external voices are guiding the narrative; the soldiers themselves, through their conversations and actions, drive the story. This approach creates a raw, unembellished depiction of war that does not glorify or vilify the soldiers. Instead, it shows them simply as young men doing their jobs in an environment of constant danger.
However, this method is not without its challenges. The filmmakers' lack of intervention means that we, the audience, must piece together war's emotional and psychological weight, mainly from the soldiers' expressions and day-to-day routines. At times, this can leave us with more questions than answers, especially regarding the mental toll that combat takes on those involved. Yet this ambiguity mirrors the soldiers' struggles, providing a sobering reflection on their internal battles.
The Soldiers: Alice and the Fallen
One of the most profound elements of Restrepo is the way it humanises the soldiers, especially figures like 'Alice,' whose personal story stands out among the rest. Alice, a soldier who emerges as one of the more prominent figures in the documentary, represents the quiet resilience and vulnerability of soldiers who often remain anonymous in the public consciousness. His calm demeanour and straightforward attitude offer a window into the mind of someone constantly navigating between the mundane and the extreme. His portrayal speaks to the complexity of military service: the soldiers are not just warriors but individuals with distinct personalities, histories, and vulnerabilities.
However, Hetherington's film is also deeply tragic. The soldiers of Battle Company face the physical dangers of their environment and the emotional toll of losing comrades. The death of Sergeant First Class Kevin M. C. was a devastating blow to the unit and serves as a haunting reminder of the cost of war. The grief and shock experienced by the soldiers, captured in raw moments of reflection, speaks volumes about the fragility of life in combat.
For many soldiers, such experiences leave lasting scars. Restrepo does not shy away from the emotional and psychological trauma inflicted by such losses. The film does not offer easy answers or neatly tied-up narratives. Instead, it emphasises war's disorienting and often overwhelming nature, where friends become casualties, and survival becomes the primary focus.
The loss of soldiers, both during the production of Restrepo and within the documentary's narrative, emphasises the mission's ultimate price. Hetherington himself, tragically, would also lose his life in a subsequent assignment in Libya in 2011, highlighting the personal risks that documentarians and journalists take in seeking to tell stories like these. In this way, Restrepo becomes not just a reflection on the soldiers who fought in the Korengal Valley but a broader meditation on the lives lost in the pursuit of telling their stories.
Conclusion
Tim Hetherington's Restrepo is a powerful and unflinching look at the brutal realities of war, capturing soldiers' lives with empathy, respect, and a deep sense of responsibility. The cinematography, through its use of handheld, immersive shots, draws the viewer into the chaos of combat, offering a perspective rarely seen in mainstream war films. While not without challenges, The fly-on-the-wall production method enhances the documentary's authenticity, allowing the soldiers to speak for themselves through their actions and words. In the lives of soldiers like Alice, we see not just the uniformity of military service but the complexity of individual experiences—moments of camaraderie, grief, and quiet heroism. Ultimately, Restrepo is not just a documentary about war but the humanity that endures within it and the lives that continue to be affected long after the cameras stop rolling.
Exercise 3.4 Post-photojournalism
Look at the work of one of the practitioners discussed in this project. Write a short analysis
of one of their projects or the practitioner’s overall approach. Comment on how appropriate
you think their creative responses are. What is your impression of the evolving nature of
photojournalism?
David Campany - Compassion Fatigue
David Campany’s project on compassion fatigue addresses a pressing issue in photojournalism—the desensitisation of audiences to emotionally charged imagery due to oversaturation. The concept of compassion fatigue highlights the paradox that while photojournalism seeks to evoke empathy and action, repetitive exposure to graphic and tragic imagery can numb viewers, reducing its intended impact.
Campany’s creative response challenges traditional approaches to photojournalism by rethinking how images present themselves. His work often emphasises the need for context, critical engagement, and an acknowledgement of the ethical dimensions of viewing and distributing such images. For instance, Campany explores the interplay between text and image, the role of memory, and the shift from direct reportage to more reflective or conceptual representations.
This approach resonates with the evolving nature of photojournalism. Traditional documentary photography, which relied on the presumed objectivity of capturing events, has expanded into broader visual storytelling, blending art, activism, and critical commentary. Campany’s engagement aligns with these shifts by questioning the responsibilities of creators and consumers in the digital age, where images are easily manipulated, decontextualised, or commodified.
Campany’s work suggests that photojournalism must adapt to remain impactful. By advocating for a more nuanced and ethically grounded engagement with imagery, he promotes a deeper understanding of the power and limitations of photographic representation. This evolving dialogue ensures that photojournalism retains its relevance as a tool for empathy, awareness, and change.