Keith, S; Schwalbe, C; Silcock, W (2006) Images in
Ethics Codes in an Era of Violence and Tragedy, Journal of Mass Media Ethics 21(4) pp 245-264.
Susan Keith,
an assistant professor in the Department of Journalism and Media Studies at
Rutgers University brings over a decade’s worth of international experience to
this article. Working at daily newspapers, reporting, editing and lecturing
within the field of journalism and communications, this article, in
collaboration with Keith’s former colleagues from the Walter Cronkite School of
Journalism and Mass Communication within Arizona State University investigates
a doctrinal approach to broadcasting and photojournalism codes in regards to
images of violence and tragedy in an era of increased political turmoil and
public trauma. The text considers the
ethical debates within contemporary technology and the emergence of the coined
term; ‘citizen paparazzi’ which originated in the London Underground Bombing
catastrophe, in which hand phone and video footage of the disaster were
recorded by onlookers en masse. The central argument in the text is the
dichotomy between whether graphic images critically affect viewers or whether
certain explicit images attract people to news and determine how disasters are
viewed publicly as they capture the ‘true dimensions of tragedy.’ To determine
the role Ethical Code’s play in regulating photojournalism in an era of increased
political conflict and tragedy, the author’s investigate the stipulations
outlined in thirty-three Media Ethics codes (in the U.S.) in regards to
photography, image release, image publication and the responsibilities of both
photographers and publishers. Keith, Silcock and Schwalbe focus significantly
on the digital manipulation as well as the ethical capturing of images in publishing
and broadcasting, looking specifically at three predominant schools of thought
that postulate the extent that images should be digitally manipulated in order
to publish them in an ethical manner.
Hondros, C. (Interviewee) & Montagne, R (Interviewer)
(2007, March 26) All Alone in the World (National
Public Radio Interview Audio) Retrieved from http://www.npr.org/templates/story/story.php?storyId=9118474
The National
Public Radio, a reputable non-profit membership media organisation that has
been in operation for over three decades and acts as a syndicate for public
radio stations in the U.S. In this interview which aired in 2007, Pulitzer
Prize winning American photographer Chris Hondros describes the story behind
his contentious image that features young Iraqi child, Samar Hassan cowering in
the shadow of an Iraqi soldier, covered in her parents blood and screaming in
terror moments after their fortuitous murder. In the dialogue, Hondros and
Montage discuss how the internationally renowned image sparked widespread
criticism of Hondros, with viewers questioning his personal morals as to
whether he acted to comfort or aid the grieving child. It also received censure
in regards to it’s composition, in looking at the child from above the image
positions her as diminutive, helpless and “doll-like” in comparison to the
soldier who towers above her and the blood streaks that shadow her face
received criticism for the Christ-like resemblance. In the interview, Hondros
argues that it is this connectedness with the viewer that essentially ‘brings
people to the story,’ making the wider public increasingly aware of the
cultural milieu in Iraq during 2007. The interview concludes with Hondros
postulating the reason the image is so tangible to viewers. He suggests that it
is the aspect of isolation, not only in composition but in the reality of the
recent loss of her parents that renders the child completely alone. Similar to
the initial presuppositions in Keith’s article, Hondros posits that this is why
it is important that such images receive wider publication in the media rather
than ethical censorship.
Visual Culture Blog (2011, January 21) Photojournalism, Ethics and a Trail of Blood
(Web log post) Retrieved from http://visualcultureblog.com/2011/01/photojournalism-ethics-and-a-trail-of-blood/
“Five years after the image was shot, Hondros’ photograph
represents the complex encounter of ethics and photojournalism with a trail of
blood that is only getting longer.” (Visual Culture Blog)
The Visual
Culture Blog has been in operation for over two years, delivering readers with
insights into popular aesthetic culture, visual politics and photographic
meaning. Whilst the blog uses academic articles, evidence and primary sources
to support it’s claims, the author chooses to remain anonymous, which does
attest to a degree of questionability in regards to the sites credibility. In the article the author embarks on a more
artistic elucidation of Hondros’ photograph, comparing it to the visual and
auditory works of artist Edvard Much’s piece “The Scream” and Vietnam War
photographer Nick Ut’s prominent photograph of Kim Phut during the napalm
bombing of her village. Similar to Hondros’ interview, the articles explores
the significance that the photo of Samar Hassan has in raising awareness about
the Iraqi War – how her captured scream is one of not only physical but
psychological pain. The blood that seemingly forms running teardrops down her
face is mirrored in a single drop of blood on the soldiers left foot, the
author suggests this is symbolic of the fact that ‘we are all marked by the experience of war.’ Similar
to Keith and Hondros’ postulations, the author of the blog explores the
inextricable link of photojournalism to modern warfare and how it is usually
images of children that ensue the strongest reactions. The article explains how
the photograph of Samar not only reverberates with viewers due to its insight
of the war from a child’s perspective but it also reverberates with the
governments involved with war, creating a call to action to cease such tragedy.
Similar to Keith’s article the blog looks at the ethics involved with the
image, in particular Samar’s isolation and blood stains and the way in which
the soldier towers over the child, armed with a gun – seemingly adding a
different context to the term ‘shooting’ in photography. Applying the National
Press Photographers Association (NPPA) Code of Ethics to Hondros’ photograph
the author concludes that although Samar fits the criteria of being a
‘vulnerable subject,’ ‘victim of tragedy,’ and ‘experiencing a private moment
of grief’ the code of ethics does not apply because the public has an
overriding and justifiable need to view the image, establishing that ethics
codes are dependent on the viewer rather than the image.
Arango, T (2011, May 7) Face That Screamed War’s Pain Looks Back, 6 Hard Years Later, The
New York Times, Retrieved from
http://www.nytimes.com/2011/05/07/world/middleeast/07photo.html?pagewanted=1&_r=2&hp
American
Journalist Tim Arango brings over six years of journalism experience to his
current role as the Baghdad Bureau Chief of The New York Times. This article
appeared in the Middle Eastern News section of the New York Times as a
reflection of Samar Hassan’s life six years after her iconic photograph was
captured. Arango interviews Samar about her siblings and the events that took
place on the day the photograph was taken as she views it for the first time. In
conjunction with Keith, Hondros and the Visual Culture blog, Arango notes how
photojournalism increases the media reception of images of tragedy and how
because of Hondros’ image, the arbitrary act of violence against Samar’s family
reached discussion in the highest offices of Pentagon. Arango interviews Liam
Kennedy, a professor at University College in Dublin who specializes in
conflict photography, Kennedy suggests that in an age of saturated media
coverage and decreasing attention spans it is difficult to publish images that
incite enough attention to be memorable. Like the Visual Culture Blog, he
compares Hondros’ image to Nick Ut’s photo of the napalm bombing, elucidating
that the photographs through the perspective of children in tragedy are ones
that stand out in history. Although Arango touches on issues of ethics
surrounding Hondros’ photograph, the predominant argument, similar to the
aforementioned articles is that regardless of ethics codes, photographs educate
the public about atrocities as they capture the true dimensions of tragedy.
Recommended Reading: The Cruel Radiance: Photography and
Political Violence by Susie Linfield
Regarding the Pain of Other By Susan Sontag
Reference List
Keith, S;
Schwalbe, C; Silcock, W (2006) Images in Ethics Codes in an Era of Violence and
Tragedy, Journal of Mass Media Ethics
21(4) pp 245-264.
Hondros, C.
(Interviewee) & Montagne, R (Interviewer) (2007, March 26) All Alone in the World (National Public
Radio Interview Audio) Retrieved from http://www.npr.org/templates/story/story.php?storyId=9118474
Visual Culture
Blog (2011, January 21) Photojournalism,
Ethics and a Trail of Blood (Web log post) Retrieved from http://visualcultureblog.com/2011/01/photojournalism-ethics-and-a-trail-of-blood/
Arango, T
(2011, May 7) Face That Screamed War’s
Pain Looks Back, 6 Hard Years Later, The New York Times, Retrieved from
http://www.nytimes.com/2011/05/07/world/middleeast/07photo.html?pagewanted=1&_r=2&hp
No comments:
Post a Comment