#photography dissertation

[carmelafaith]

BEYOND ABU GHRAIB: WAR TROPHY PHOTOGRAPHY AND COMMEMORATIVE VIOLENCE

READING NOTES:

> Staged war photographs are trophies for those who take them

- Photographs simultaneously illustrating a celebration and brutality - Captured to create enduring trophies - Provide a systematic assessment of the sociocultural practices of the camera and photography during times of conflict

> Photographing brutality against those labelled as enemies is a practice as old as war photography.

- Abu Ghraib - British Army in Burma - German plane brought down by Canadian lines

- Emotional communication - Photographic materiality - Cultrual memory

> War trophy photography recgonisess war efforts with the construction of a visual record 1. Reproducing emotively (erosing feeling) based upon realations of dominance which generate ‘commemative violence’ 2. Map material functions / how the photograph act as a violent commemative artefact

[carmelafaith]

POST ONE-TO-ONE WITH DISSERTATION TUTOR: DAVID CAMPANY

David Campany helped to narrow down my theories and evaluations set in place for my dissertation: The Eroding Affair of Ethics Regarding War Photography. 

My initial objective was to focus upon the ethics set in place for visual journalists by the National Photographers Press Association. Campany questioned whether these code of ethics are followed purely for and by all photojournalists. As they are underlined by the National Press Photography Association, they are in fact set for the Associated Photographer of its community. In order to ease my research and theories whilst maintaining the structure of the dissertation coherent, focused and sharp, Campany opened the idea of focusing upon the photographs of war and post-war which were hidden from the wider public.

This proposal began by discussing Ernst Friedrich’s photographic publication War Against War (Krieg dem Kriege! Guerre a la Guerre! Oorlog Aan Den Oorlog!). Which then later developed into the discussion of Susan Sontag: Regarding the Pain of Others. 

Below are several books suggested by Campany during our tutorial.

[carmelafaith]

THE CRUEL RADIANCE

Just like Ariella Azoulay’s book on The Civil Contract of Photography, Susie Linfield begins her voice towards photographs of suffering from her personal experience towards spectating war – but rather through spectating the effects of war through imagery, not through her actual eye, like Azoulay. Claiming she did not comprehend what the text around the images declared, she later expresses that in fact, the imagery of pain described what happened to the subjects in The Black Book of Polish Jewry during the Holocaust. Linfield passionately declares that spectating such imagery is an ethical requirement to the human as it permits individuals of society in understanding the capacity for cruelty. Her work will support the ethic: ‘do not intentionally sabotage efforts of other journalists’, in relation to editors filtering, trimming or even subtracting particular photographs for the press, when in fact those particular photographs could prevent an echo of history. 

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DISPATCH: WAR PHOTOGRAPHS IN PRINT 1854-2008:

Dispatch will aid The Eroding Affair of the Code of Ethics Regarding War Photography in relation to an examination of the production in war imagery, the roles of photojournalists and their professional collaboration with editors of the press. As a short book, flowing with prestigious and not so focused photographs of the Crimean and Afghanistan Wars, Dispatch considers the representation of war whilst profoundly interrogating how the field has developed over 150 years. The thesis will consider the roles and verdicts shaped through editorial authority and therefore altering the photojournalists initial objective which will welcome ethical considerations. This theoretical assessment of Dispatch compares the original prints to what has been reproduced in magazines such as Life. Furthermore, the book expresses the authority decided by editors in order to suit their [news corporations] needs which will maintain my argument concerning how there’s more to war photography than just capturing the scene.

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THE CIVIL CONTRACT OF PHOTOGRAPHY:

Carved by a witness of war, Ariella Azoulay evaluates the ethical and political status in photography. Azoulay reflects on what the camera is, how it has developed into something mechanical and how contemporary acts as a ‘transit visa’. Contemplating on the ego of mankind, The Eroding Affair of the Code of Ethics Regarding War Photography will reflect on how the camera gives power to those who hold the shutter. Considering what it means to be a photojournalist due to: the development of photography, tolerable public access to mechanical cameras, Azoulays opinions on photographs of Abu Ghraib prison give an insight.

[carmelafaith]

DISSERTATION: The Eroding Affair of the Code of Ethics Regarding War Photography / ANNOTATED PROPOSAL

The Eroding Affair of the Code of Ethics Regarding War Photography will begin questioning what it means to be a photojournalist whilst testifying the historical lateral of war photography since the 19th century – considering how photographers such as Matthew Brady earned his prestige.

The Eroding Affair of the Code of Ethics Regarding War Photography’s argument will concentrate on interrogating the set of ethics instructed by the National Press Photographers Association through evaluating particular photographs scenarios and verdicts of publication authorised by the photojournalist and later the editor. The NPPA’s Code of Ethics are guidelines which have been set in place for visual journalists to consider during the documentation of events. NPPA state to be objective whilst providing comprehensive depiction of the subject at hand as photojournalists have the responsibility to document society and preserve its history. The following thesis will therefore analyse photographs of war, evaluate the photographers and editor’s execution towards ethics, based upon the context within the frame and during the event photographed.

Chapters of the thesis will highlight upon an issue of interest i.e. why are the most celebrated photographs explicit? This would therefore root discussion of importance i.e. voyeurism and behaviours of the photographer and editor. Subject to the photographs case, an ethic will come into question. For instance, Associated Press photographer Farah Warsameh presented four graphic images of war reportage during a stoned death in Somalia. Each photograph depicts the action taken place, however, neither is provided with context. Thus contradicting the ethic: ‘be complete and provide context when photographic/recording subjects’. This therefore challenges his title as a photojournalist and deceives spectators of truth.  

The Eroding Affair of the Code of Ethics Regarding War Photography will consequently terminate the superior theory: are ethics sincere or are they put in place to cover the ego of the publisher.

[carmelafaith]

CODE OF ETHICS : NPPA

Be accurate and comprehensive in the representation of subjects.

Resist being manipulated by staged photo opportunities.

Be complete and provide context when photographing or recording subjects. Avoid stereotyping individuals and groups. Recognize and work to avoid presenting one's own biases in the work.

Treat all subjects with respect and dignity. Give special consideration to vulnerable subjects and compassion to victims of crime or tragedy. Intrude on private moments of grief only when the public has an overriding and justifiable need to see.

While photographing subjects do not intentionally contribute to, alter, or seek to alter or influence events.

Editing should maintain the integrity of the photographic images' content and context. Do not manipulate images or add or alter sound in any way that can mislead viewers or misrepresent subjects.

Do not pay sources or subjects or reward them materially for information or participation.

Do not accept gifts, favors, or compensation from those who might seek to influence coverage.

Do not intentionally sabotage the efforts of other journalists.

Do not engage in harassing behavior of colleagues, subordinates or subjects and maintain the highest standards of behavior in all professional interactions.

[visockyte-klaudija]

note to self: what is methodology?

methodology is not one single text or theory to apply to my dissertation, methodology becomes shaped by all the reading and different perspectives which I use to access and analyse the works. In the introduction to my dissertation, I mention and outline the texts which significantly shape my reading / analysis of the works (e.g. what terms I use to describe a process or visual)

not just one single text used for a methodology

writing incorporates several approaches simultaneously, which makes up a good explanation of what the artwork is doing