Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
How media effects war
Propaganda media effects
Propaganda media effects
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: How media effects war
Photography plays a huge role when it comes to documenting history and capturing significant moments of war. But can pictures especially war pictures really portray experience and hidden emotions that a human being has gone through? Many soldiers are diagnosed with PTSD after their service and they are left with the painful memories of battle to the point where hearing the word “combat” bring tears to their eyes. Not only that but sometimes the images we see may even be censored to cover up what the government does not want to be shown. Although photography can give an image of how war is perceived, it is not dependable for presenting the concealed side like censorship and chaos. Photography may be seen as a helpful tool in recording history, history itself cannot be based on images. Susan Sontag author of “ Regarding the Pain of Others”, states:
What the American military promoted during the Gulf War in 1991 were images of the techno war: the sky above the dying, filled with light-traces of missiles and shells- images that illustrated America’s absolute military superiority over its enemy. American
…show more content…
Fear and panic conquers over especially when things like a bomb go off unexpectedly. In “Soldier Stories”, a collective of journal entries from real life soldiers like Sergeant Timothy J. Gaestel mentions in his letter that an improvised explosive device went off causing severe injury on his back. While Timothy stays calm, his untrained partner starts to panic and begins to fear for the worst of the situation:
This guy didn't react well when I showed him my back- he started flipping out and yelling, “Oh G., you got him man, oh he’s hit in the back and is bleeding. As you can imagine, I was pretty pissed off that this point, and I showed my anger toward the people in the town that were driving through.
Bullets flying through the air right over me, my knees are shaking, and my feet are numb. I see familiar faces all around me dodging the explosives illuminating the air like lightning. Unfortunately, numerous familiar faces seem to disappear into the trenches. I try to run from the noise, but my mind keeps causing me to re-illustrate the painful memories left behind.
Images can manipulate many scenarios but it’s tactic used to show the realities of our world. Despite what we see, picture taken of the war and events occurring in the war doesn’t mean they aren’t real. We all live in a messy world and history is constantly repeating itself. Pictures are taken to spread awareness and empathy. It is a reason DeGhett argued that the Iraq brunt solider photograph taken by Kenneth Jarecke should have been posted in order for the public to get a sense that the war occurring at the moment is nothing like in the movies. Images are powerful and we must learn to always look closely and
In Natasha Trethewey’s poetry collection “Native Guard”, the reader is exposed to the story of Trethewey’s growing up in the southern United States and the tragedy which she encountered during her younger years, in addition to her experiences with prejudice. Throughout this work, Trethewey often refers to graves and provides compelling imagery regarding the burial of the dead. Within Trethewey’s work, the recurring imagery surrounding graves evolves from the graves simply serving as a personal reminder of the past to a statement on the collective memory of society and comments on what society chooses to remember and that which it chooses to let go of.
The initial reaction I received from reading Soldier's Home, and my feelings about Soldier's Home now are not the same. Initially, I thought Harold Krebs is this soldier who fought for two years, returns home, and is disconnected from society because he is in a childlike state of mind, while everyone else has grown up. I felt that Krebs lost his immature years, late teens to early 20's, because he went from college to the military. I still see him as disconnected from society, because there isn't anyone or anything that can connect him to the simple life that his once before close friends and family are living. He has been through a traumatic experience for the past two years, and he does not have anyone genuinely interested in him enough to take the time to find out what's going on in his mind and heart. Krebs is in a battle after the battle.
In the chapter, “The Mirror with a Memory”, the authors, James Davidson and Mark Lytle, describe numerous things that evolved after the civil war, including the life of Jacob Riis, the immigration of new peoples in America, and the evolution of photography. The authors’ purpose in this chapter is to connect the numerous impacts photography had on the past as well as its bringing in today’s age.
Collecting evidences, gathering recourses, and providing reliable insights of a historical event are certainly not some easy tasks to perform for an author who has no first-hand experience of such event. Nevertheless, it is even more challenging for authors to re-organize, recount, and represent traumatic war-time memories to a body of audience with no direct experience of the intensely dangerous confrontations, especially belligerent experiences that happened abroad. To convey the anxiety and trauma resulted from extreme violence, moral conflicts and physio-psychological damages without unconsciously marginalizing any particular historical event, authors who write about traumatic experiences must be cautious when they try to visually and mentally
Instead of telling readers what to think through words, readers can form their own point of view from a photo. A photograph that showed different interpretations was taken during WWII after the destruction of Iwo Jima in Japan of Americans soldiers raising an American flag in the ruins. Some viewers may perceive this act as patriotic, and others may have thought it was an act of terrorism and revenge. Either opinion could be argued and the photograph is the evidence. Since photographs can be unbiased, they can also hold truthful detail. For example, one photograph from the Vietnam war depicted a Vietnamese police officer shooting a Viet Cong in the streets. There are a lot of emotion in that photograph that words cannot describe all; which included the fear and hostility that was upheld during the time. Newspapers need to print more of these kinds of photographs to educate people the ugliness of war and death. Ephron pointed out, “throughout the Vietnam War, editors were reluctant to print atrocity pictures. . . That 's what that war was about.” War and its deaths are a part of history too, and history needs to be kept true and unbiased. As long as the photos are not altered nor used for propaganda, they can be
War can destroy a man both in body and mind for the rest of his life. In “The Sniper,” Liam O’Flaherty suggests the horror of war not only by presenting its physical dangers, but also by showing its psychological effects. We are left to wonder which has the longer lasting effect—the visible physical scars or the ones on the inside?
Many people question if Guy Sajer, author of The Forgotten Soldier, is an actual person or only a fictitious character. In fact, Guy Sajer in not a nom de plume. He was born as Guy Monminoux in Paris on 13 January 1927. At the ripe young age of 16, while living in Alsace, he joined the German army. Hoping to conceal his French descent, Guy enlisted under his mother's maiden name-Sajer. After the war Guy returned to France where he became a well known cartoonist, publishing comic books on World War II under the pen name Dimitri.
The story, A Soldiers Home, is about a man in conflict with the past and present events in his life. The young man’s name is Harold Krebs. He recently returned from World War 1 to find everything almost exactly the same as when he left. He moved back into his parents house, where he found the same car sitting in the same drive way. He also found the girls looking the same, except now they all had short hair. When he returned to his home town in Oklahoma the hysteria of the soldiers coming home was all over. The other soldiers had come home years before Krebs had so everyone was over the excitement. When he first returned home he didn’t want to talk about the war at all. Then, when he suddenly felt the urge and need to talk about it no one wanted to hear about it. When he returned all of the other soldiers had found their place in the community, but Harold needed more time to find his place. In the mean time he plays pool, “practiced on his clarinet, strolled down town, read, and went to bed.”(Hemingway, 186) When his mother pressures him to get out and get a girlfriend and job, he te...
I believe that in able to see the world we should photograph life at a certain moment in time so we can capture reality, and able to look back at it. Susan Sontag expresses, “Although there is a sense which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are” (Sontag 6). Interpreting this quote can go a different way such as, that the photographer is capturing the world by the lenses, not the eyes. I believe that if we’re experiencing the world through the lenses, or rather
When something significant happens, every media outlet wants to be the first to let you hear about it. However, to do so they have to draw you in. This is where the deception comes in. In “From Realism to Virtual Reality” the author argues the difference between realism and actual war like images. He explains that the way war is portrayed by the media is not how it really happens. He finds that journalists publish certain images from a war setting just to evoke emotion, whether is portrays the war as it really is or not. For example, he found that many journalists published stand still photographs of mostly dead bodies during the war just to make the audience believe what was being published. Images like these are not accurate, real representations of the war in its entirety. The media is not looking to publish the truth; they’re looking to publish a good
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.
The way that Rosenberg chose to present the war through his poem expresses his dislike for the whole effort. Picturing the fact that a simple rat could be seen as an enemy due to it being on both sides of the war in an obvious hyperbole, but this device is used as a way for Rosenberg to express his beliefs that the war has gone too far. Line 7 states “Droll rat, they would shoot you if they knew” (Rosenberg 2030) when referring to how a rat can easily cross between two opposing sides of the war. He expresses how the rat is not a part of the war and a small sense of jealousy towards that rat can be seen through other lines of the poem. As Tomas Staley said when speaking about Rosenberg “as the war became the universe of poetry, the power of
Photojournalism plays a critical role in the way we capture and understand the reality of a particular moment in time. As a way of documenting history, the ability to create meaning through images contributes to a transparent media through exacting the truth of a moment. By capturing the surreal world and presenting it in a narrative that is relatable to its audience, allows the image to create a fair and accurate representation of reality.