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War photography and journalism

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Shelby Blackley

on 24 September 2013

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Transcript of War photography and journalism

War photography and journalism
Justin Nimchick Kaitlyn Vickery Shelby Blackley

Why is war photography important?
History behind war photography
Ethics and Morals
James Nachtwey
Current Media
How can you be active?
Lynsey Addario
- A war photojournalist that freelances for the New York Times and New York Times Magazine
- Covered such events as Baghdad, Libya, Darfur, Afghanistan, Indian, Bhutan, Africa, transsexual prostitutes in New York, and most recently Syria
- Abused in Libya sexually and physically
"At that point, it was hard to justify why I put myself in that situation.”
RE SYRIA: “From the outside, no one would have any idea that the combat hasn’t overtaken the entire country. [...] I think it’s the most important part because that’s where the lives are being lost and that’s where the civilians are paying the highest price.”
Photos from: www.lynseyaddario.com
It conveys emotions more strongly than words
Makes situations more real
Universal language
Political pressure and public outrage
Evidence of human rights violations
Giving voice to the people who have no voice
Crimean War and Roger Fenton (1855)
American Civil War and Alex Gardner
The reality of war photography from art to realism
World War Censorship
Roosevelt and 1943
Nuremberg Trials
Kevin Carter and Tyler Hicks - The ability to intervene
Journalist personal risk - Emotional and physical
Viewership
The public and journalist's moral accountability
How we feel war photography should be portrayed today
Paul Watson
A Canadian journalist who in 1993, working for the Toronto Star, was sent to Somalia to cover the civil war taking place.
Won a Pulitzer Prize for a photo he took of a dead U.S. soldier being dragged through the streets of Mogadishu, Somalia.
Also covered Rwanda, Afghanistan, Iraq, and Russia.
Wrote the book 'Where War Lives' detailing memories, emotions, depression, PTSD, and moral conflicts he has experienced.
Bibliography
“The crowd parted, forming a manic horseshoe around the corpse. My eyes panned the frenzy like a camera guided by invisible hands. I looked to the ground. And that is how I came to know Staff-Sgt. William David Cleveland. In less than the time it took to breathe, I had to decide whether to steal a dead man’s last shred of dignity. The moment of choice, in the swirl of dust and sweat, hatred and fear, is still trapped in my mind, denying me peace: just as I was about to press the shutter on my camera, the world went quiet, everything around me melted into a slow-motion blur, and I heard the voice: “If you do this, I will own you forever”.”
James Nachtwey's Academy Award Winning Documentary - "War Photographer"
James Nachtwey on photographing grief and requiring the complicity of the people to take the photos that he takes
"We knew what was happening on ground level and it was in contradiction to what our military and political leaders were telling us."
War photographer covering conflict across the globe since 1981
1981 Northern Ireland Hunger Strike and the Palestinian/Iraqi conflict and has since gone on to cover human rights issues in far too many countries to name
Winner of numerous awards, including the TED Award, Robert Capa Gold Medal (x5), and the Dan David Prize
Most importantly, he has been a passionate activist and photographer for decades. He has covered war conflicts and from then since moved towards awareness for diseases such as Tuberculosis
Known for his up-close photography
Creator of XDR-TB

His words on photojournalism:
Free flow of information from journalism
'Putting a human face on issues'
Documentary photography has the power to interpret events from locals' point of view
"The true face of war, would be by its very definition, be an anti-war photograph"
"Powerful indictment of war, showing us what was happening there"
BE AWARE!
- Syria is most prominent in the news
- The portrayal of the issues in Syria changes by publication
The Globe and Mail (article): U.S joining with Russia to "rid" Syria of chemical weapons
Reuters (article): U.S. not being able to find resolution with Russia
The Globe and Mail (photos): Focus on Syria refugees
Reuters (photos): Focus on actual war, "battlefield", and the chemical weapons
Addario, Lindsay. "lynsey addario, photographer." lynsey addario, photographer.
N.p., n.d. Web. 23 Sept. 2013.
http://www.lynseyaddario.com/.

Bersak, Daniel. "Ethics in Photojournalism: Past, Present, and Future." MIT –
Massachusetts Institute of Technology. MIT, 1 Sept. 2006. Web. 23 Sept. 2013.
http://web.mit.edu/drb/Public/PhotoThesis/.

The Guardian. "The shot that nearly killed me: War photographers – a special
report." The Guardian. The Guardian, 18 June 2011. Web. 23 Sept. 2013.
www.theguardian.com/media/2011/jun/18/war-photographers-special-report/.

Watriss, Wendy. "Nieman Reports | Steps Learned Along the Way: Redefining
Photojournalism’s Power." Nieman Foundation. Harvard University, 2010.
Web. 23 Sept. 2013.
http://www.nieman.harvard.edu/reports/article/102074/Steps-Learned-Along-the-Way-Redefining-Photojournalisms-Power.aspx.

Nettelfield, Lara J. "Where War Lives by Paul Watson." International Journal 63.2 (2008): 513-15.

Lara Nettelfield’s positive review of Paul Watson’s book “Where War Lives”. She analyzes

"The haunting of Paul Watson." Canada.com. N.p., 19 Aug. 2007. Web. 24 Sept. 2013.
http://www.canada.com/ottawacitizen/story.html?id=39320e3d-f2b7-4606-aa9d-73340a9a7752

“James Nachtwey: My wish: Let my photographers bear witness.” TED, 2007. Film. 24 Sept. 2013. <http://www.ted.com/talks/james_nachtwey_s_searing_pictures_of_war.html>.

"Photography Transformed (1960-1999)." Films On Demand. Films Media Group, 1999. Web. 24 Sept. 2013.
<http://digital.films.com.libproxy.wlu.ca/PortalPlaylists.aspx?aid=15440&xtid=44204>.

"The Photographic Age (1935-1959)." Films On Demand. Films Media Group, 1999. Web. 24 Sept. 2013.
<http://digital.films.com.libproxy.wlu.ca/PortalPlaylists.aspx?aid=15440&xtid=44203>.

"War Photography." British Medical Journal. 1.3301 (1924): 635-637. Web. 24 Sep. 2013.
<http://www.jstor.org/stable/20436266>.

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