Photography, War, Outrage

Abstract

The phenomenon of “embedded reporting” seemed to emerge with the invasion of iraq in march 2003. it is defined as the situation in which journalists agree to report only from the perspective established by military and governmental authorities. They traveled only on certain trucks, looked only at certain scenes, and relayed home only images and narratives of certain kinds of action. Embedded reporting implies that this mandated perspective would not itself become the topic of reporters who were offered access to the war on the condition that their gaze remained restricted to the established parameters of designated action. I want to suggest that embedded reporting has taken place in less explicit ways as well: one example is the agreement of the media not to show pictures of the war dead, our own or their own, on the grounds that that would be anti-American. Journalists and newspapers were denounced for showing coffins of the American war dead shrouded in flags. Such images should not be seen because they might arouse certain kinds of sentiments; the mandating of what could be seen—a concern with regulating content—was supplemented by control over the perspective from which the action and destruction of war could be seen. Another implicit occurrence of embedded reporting is in the Abu Ghraib photographs. The camera angle, the frame, the posed subjects all suggest that those who took the photographs were actively involved in the perspective of the war, elaborating that perspective and even giving it further validity.