Representing Contemporary War

Abstract

“… Sontag not only challenges the compassion fatigue thesis; she questions the notion of the CNN effect. With regard to inaction in Bosnia despite the steady stream of images of ethnic cleansing that made their way out of Sarajevo, Sontag argues that people didn't turn off because they were either overwhelmed by their quantity or anaesthetized by their quality. Rather, they switched off because American and European leaders proclaimed it was an intractable and irresolvable situation. The political context into which the pictures were being inserted was already set, with military intervention not an option, and no amount of horrific photographs was going to change that….… In the Iraq war of 2003 imagery was central to the conflict and often the subject of conflict itself. In this context, the Pentagon's strategy of “embedding” reporters and their camera crews with fighting units, and having them operate at the behest of that unit, continues the long-running tradition of a close relationship between the media and the military…. Given this, Sontag is perhaps surprisingly sanguine about the genuineness of war photography in the contemporary period. While recognizing that many of the now iconic combat images of the pre-Vietnam period were staged, she sees Vietnam as a watershed such that “the practice of inventing dramatic news pictures, staging them for the camera, seems on its way to becoming a lost art.” Insofar as Sontag is referring to the likelihood of individual photographers seeking to deceive, she may be right. There was, however, at least one notable instance in Iraq of digital manipulation. This resulted in the Los Angeles Times sacking award-winning staff photographer Brian Walski, whose altered image of a British soldier in Basra (he had combined two photos into one to improve marginally composition) was used on the paper's front page….… What is most striking about the embedded journalists' coverage of the Iraq war is the way in which the images of the conflict produced by the allies' media was so relatively clean, being largely devoid of the dead bodies that mark a major conflict. In this outcome, the media is a willing accomplice….”