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Ethics of photojournalism
Ethics of photojournalism
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When I considered at first to discuss the role of photography and frame as evidence and their limitations, keeping in mind Butler’s argument regarding the visual modes of regulation of reality, the first problem that came up before me was: would it be something futile and an imposition of meaning on something which is by nature to be seen? But Butler’s claim regarding the way suffering is presented to us through the framing of reality in a certain way – for example, “embedded reporting” and our ethical response to it – prompted me to address certain questions involving the frame and its role in establishing or not establishing legal, political and ethical responsibility.
Since the beginning of civilisation the question can art have the capacity to transform the world politically and morally has invariably haunted the philosophers and social scientists alike. This paper makes an attempt to address two different but interrelated questions in the light of photography by primarily focusing on Abu Ghraib pictures. First, I intend to look critically at Butler’s claim that framing of reality in a certain way imposes constraints on what can be heard, seen and read during the times of war. And second, I propose to consider the various ways in which the relationship between photography and ethical responsiveness can be explored by invoking the idea of face propounded by Levinas in one of his interviews.
Butler in “Torture and the Ethics of Photography” is largely concerned with how our understanding of perceptible reality and our response to the suffering of others are controlled by military and governmental authorities, who by allowing “embedded reporting”, that is, to allow the journalists and photographers to report only from the persp...
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...s At The College De France: 1975-76. Eds. Mauro Bertani and Alessandro Fontana. Trans. David Macy. Intro. Arnold I. Davidson. New York: Picador P, 2003. Print.
(6) Macherey, Pierre. A Theory of Literary Production. London: Routledge, 1966. Print.
(7) Sontag, Susan. On Photography. New York: Rosetta Books LLC, 1973, 4. Print.
(8) Sontag, Susan. “Regarding the Torture of Others”. New York Times, May 23, 2004. Web.
(9) Sontag, Susan. Regarding the pain of others. New York: Picador, 2003, 89. Print.
(10) Standard Operating Procedure. Dir. Eroll Morris. Sony Pictures Classics, 2008. Film.
(11) Unthinkable. Dir. Gregor Jordon. Perf. Michael Sheen. Sony Pictures Home Entertainment, 2010. Film.
(12) Wright, Tamra. Trans. Benjamin, Andrew and Right Tamara. The Provocation of Levinas. “The Paradox of Morality: an interview with Levinas. London: Routledge, 1988. Print.
Szegedy-Maszak, Marianne. "The Abu Ghraib Prison Scandal: Sources of Sadism." Writing and Reading for ACP Composition. Upper Saddle River: Pearson Custom, 2009. 210-12. Print.
An image has the explicit power of telling a story without saying any words, that’s the power behind a photo. A photo tends to comes with many sides to a story, it has the ability to manipulate and tell something differently. There is a tendency in America, where explicit photos of war or anything gruesome occurring in the world are censored for the public view. This censorship hides the reality of our world. In “The War Photo No One Would Publish” Torie DeGhett centers her argument on censorship, detailing the account of graphic Gulf War photo the American press refused to publish. (73) DeGhett argues that the American public shouldn’t be restrained from viewing graphic content of the war occurring around the world. She believes that incomplete
George Gittoes (b.1949) creates works that that communicate the issue of the graphic horror of war. A social realist painter, photographer and filmmaker, his approach to art is that ‘he layers and accumulates material until, out of apparent chaos, there is a synthesis of idea, passion and image’ (Mendelssohn, 2014). As an eyewitness to the world's war zones, Gittoes clearly uses his work as a means of communication to society.
“The documentary tradition as a continually developing “record” that is made in so many ways, with different voices and vision, intents and concerns, and with each contributor, finally, needing to meet a personal text” (Coles 218). Coles writes “The Tradition: Fact and Fiction” and describes the process of documenting, and what it is to be a documentarian. He clearly explains through many examples and across disciplines that there is no “fact or fiction” but it is intertwined, all in the eye of the maker. The documentarian shows human actuality; they each design their own work to their own standards based on personal opinion, values, interest and whom they want the art to appeal to. Coles uses famous, well-known photographers such as Dorthea Lange and Walker Evans, who show the political angle in their documentations and the method of cropping in the process of making the photo capture exactly what the photographer wants the audience to view. In this paper I will use outside sources that support and expand on Coles ideas with focus on human actuality, the interiority of a photograph, and the emotional impact of cropping.
Having such an image before our eyes, often we fail to recognize the message it is trying to display from a certain point of view. Through Clark’s statement, it is evident that a photograph holds a graphic message, which mirrors the representation of our way of thinking with the world sights, which therefore engages other
Cahn, Steven M. and Peter Markie, Ethics: History, Theory and Contemporary Issues. 4th Edition. New York: Oxford University Press, 2009.
Wolf, Susan. "Moral Saints." Gendler, Tamar Szabo, Susanna Siegel and Steven M. Cahn. The Elements of Philosophy. New York: Oxford University Press, 2008. 220-232.
The Civil War was the first major conflict to be documented by photography. At the time of the Civil War, it was vital to have public support on both the North and the South side of the dispute. It is also said that if war efforts do not have complete support of its’ citizens that it will not result to any benefits. Photography was one way that was almost guaranteeing support of citizens on the homefront. Photographers had power within their photographs, toying with the pathos of the civilians, and causing them to feel whatever the photographers wanted them to. This power was abused at time by manipulating people’s opinions towards the war. There were pictures coming back from the warfront one after the other which made it impossible for people to feel an emotional connection to the soldiers at war. These photographs allowed events happening miles away to feel like they were closer to home causing people to support the war efforts more heavily. Instead of people having their own opinions during the war, photographers used manipulative
Lebow cites writer, Allen Friedman’s account of the power of the camera in war, calling it “tantamount to aggression” (Lebow, 46). “Framing or focusing a camera lens on a human subject...was tantamount to an act of hostility.” Lebow’s use of Friedman’s accounts clearly supports her argument the overall power of the camera as an instrument of war. Additionally, Lebow establishes the idea that “To be caught in the sightlines of the enemy’s camera, is to foreshadow being caught in the crosshairs of the enemy’s gun.” The power of the camera was also present in the leaked military footage. In the clip, we saw the identification of hostile forces on camera before the sights of the guns were fixed and pulled by the
Johnson, Douglas. “A Concise History of France”. New York, NY: The Viking Press, Inc., 1971. Print.
The. Pettit, Philip. The. “Consequentialism.” A Companion to Ethics. Ed. Peter Singer.
Arthur, John, and Scalet, Steven, eds. Morality and Moral Controversies: Readings in Moral, Social, and Political Philosophy. Upper Saddle River, NJ: Pearson Prentice Hall. Eighth Edition, 2009.
SCHECHTER, Danny (2001). "Covering Violence: How Should Media Handle Conflict?" mediachannel.org. Online at: http://www.mediachannel.org/views/dissector/coveringviolence.shtml, consulted on March 27, 2004.
Newton, Julianne H. The Burden of Visual Truth: The Role of Photojournalism in Mediating Reality. Mahwah, NJ: Lawrence Erlbaum Associates, 2001. Print.
When considering morality, worthy to note first is that similar to Christian ethics, morality also embodies a specifically Christian distinction. Studying a master theologian such as St. Thomas Aquinas and gathering modern perspectives from James Keenan, S. J. and David Cloutier serve to build a foundation of the high goal of Christian morality. Morality is a primary goal of the faith community, because it is the vehicle for reaching human fulfillment and happiness. Therefore, great value can be placed on foundations of Christian morality such as the breakdown of law from Aquinas, the cultivation of virtues, the role of conscience in achieving morality, and the subject of sin described by Keenan.