Warring Visions

In Warring Visions, Thy Phu explores photography from dispersed communities throughout Vietnam and the Vietnamese diaspora, both during and after the Vietnam War, to complicate narratives of conflict and memory. While the visual history of the Vietnam War has been dominated by American documentaries and war photography, Phu turns to photographs circulated by the Vietnamese themselves, capturing a range of subjects, occasions, and perspectives. Phu's concept of warring visions refers to contrasts in the use of war photos in North Vietnam, which highlighted national liberation and aligned themselves with an international audience, and those in South Vietnam, which focused on family and everyday survival. Phu also uses warring visions to enlarge the category of war photography, a genre that usually consists of images illustrating the immediacy of combat and the spectacle of violence, pain, and wounded bodies. She pushes this genre beyond such definitions by analyzing pictures of family life, weddings, and other quotidian scenes of life during the war. Phu thus expands our understanding of how war is waged, experienced, and resolved.

Abu Ghraib and the commemorative violence of war trophy photography

The photographs from the Abu Ghraib scandal are horrific, but they are also understandable. Simply put, the Abu Ghraib photos are purposeful compositions that highlight victory over the enemy Other in war. The photos illustrate sexual and racial violence, founded upon postcolonial narratives, but this is only a starting point for their significance. I address how meaning is made for the U.S. military personnel who took photographs of naked Iraqi detainees at Abu Ghraib, by looking backward to soldiers’ photography from WWI and II, and by considering soldiers’ online sharing of photographs in the present, examining roughly fifty photos total. The relationships between photographic materiality, emotional and gestural communication, and the production of cultural memory, disseminated via networked circulation, all shape how soldiers’ wartime photographs come to be regarded. Employing an interdisciplinary approach, this research draws upon war photography; visual culture and communication; sociology of groups and ritual; sociology of emotion; combat histories; memory studies; and online photo sharing practices. In so considering, the Abu Ghraib photos are not unique, and are instead grouped within the greater concept of the “war trophy.” I expand on this concept by defining “war trophy photography” as the entwined practices of war photography and trophy collection, rooted in ritual and group solidification. Staged to depict the violent conquering of the enemy, I argue that war trophy photography recognizes war efforts through the construction of a visual record, one that reproduces relations of dominance and submission. I call this representation “commemorative violence,” a central concept I develop to define the war trophy photograph. In addition to grounding the Abu Ghraib photos historically, I review their visual semiotic, cultural significance, such as with the “Doing a Lynndie” meme, which features civilians gesturing in thumbs-up toward a downtrodden individual, copying the same gesture as often used in the images from Abu Ghraib, and the now defunct site “Now That’s Fucked Up,” which briefly allowed soldiers in 2005 to trade gruesome war trophy pictures for pornography. The conclusion reflects on war trophy photography with the topical consideration of drones, ultimately suggesting that drone warfare photos are expressionless because of the overt absence of people.

Abu Ghraib and the commemorative violence of war trophy photography

The photographs from the Abu Ghraib scandal are horrific, but they are also understandable. Simply put, the Abu Ghraib photos are purposeful compositions that highlight victory over the enemy Other in war. The photos illustrate sexual and racial violence, founded upon postcolonial narratives, but this is only a starting point for their significance. I address how meaning is made for the U.S. military personnel who took photographs of naked Iraqi detainees at Abu Ghraib, by looking backward to soldiers’ photography from WWI and II, and by considering soldiers’ online sharing of photographs in the present, examining roughly fifty photos total. The relationships between photographic materiality, emotional and gestural communication, and the production of cultural memory, disseminated via networked circulation, all shape how soldiers’ wartime photographs come to be regarded. Employing an interdisciplinary approach, this research draws upon war photography; visual culture and communication; sociology of groups and ritual; sociology of emotion; combat histories; memory studies; and online photo sharing practices. In so considering, the Abu Ghraib photos are not unique, and are instead grouped within the greater concept of the “war trophy.” I expand on this concept by defining “war trophy photography” as the entwined practices of war photography and trophy collection, rooted in ritual and group solidification. Staged to depict the violent conquering of the enemy, I argue that war trophy photography recognizes war efforts through the construction of a visual record, one that reproduces relations of dominance and submission. I call this representation “commemorative violence,” a central concept I develop to define the war trophy photograph. In addition to grounding the Abu Ghraib photos historically, I review their visual semiotic, cultural significance, such as with the “Doing a Lynndie” meme, which features civilians gesturing in thumbs-up toward a downtrodden individual, copying the same gesture as often used in the images from Abu Ghraib, and the now defunct site “Now That’s Fucked Up,” which briefly allowed soldiers in 2005 to trade gruesome war trophy pictures for pornography. The conclusion reflects on war trophy photography with the topical consideration of drones, ultimately suggesting that drone warfare photos are expressionless because of the overt absence of people.

Description of war photographs : designing a list of subject headingsDescription of war photographs : designing a list of subject headings

This project is focused on the research and practical design of a list of subject headings which describes topical subjects visually represented in war photographs. To increase access to this type of cultural heritage, this list is a user-friendly tool for the efficient description of war photographs which does not require specialized knowledge in the subject of war for its implementation. Three main strategies are employed to this end: The implementarion of a strictly controlled vocabulary; the use of a streamlined multi-tiered hierarchical arrangement; and the placement of specific subject headings within the hierarchical structure of terminology that function as key access points to war photography collections. The basis of development of this project is the approach to the description of war photographs of three institutions. These are: George Eastman House Museum of Photography and Film, the Canadian War Museum's Military History Research Centre, and Ryerson University's Black Star Historical Black & White Photography Collection.

Description of war photographs : designing a list of subject headingsDescription of war photographs : designing a list of subject headings

This project is focused on the research and practical design of a list of subject headings which describes topical subjects visually represented in war photographs. To increase access to this type of cultural heritage, this list is a user-friendly tool for the efficient description of war photographs which does not require specialized knowledge in the subject of war for its implementation. Three main strategies are employed to this end: The implementarion of a strictly controlled vocabulary; the use of a streamlined multi-tiered hierarchical arrangement; and the placement of specific subject headings within the hierarchical structure of terminology that function as key access points to war photography collections. The basis of development of this project is the approach to the description of war photographs of three institutions. These are: George Eastman House Museum of Photography and Film, the Canadian War Museum's Military History Research Centre, and Ryerson University's Black Star Historical Black & White Photography Collection.

Twelve Insights into the Afghanistan War through the Photographs from the Basetrack Project: Rita Leistner’s iProbes and Marshall McLuhan’s Theory of Media

This article presents the iProbe concept developed by the Canadian photographer Rita Leistner. This analytical tool is one of the ways to present the image of modern warfare that emerges from messages in social media and photographs taken using smartphones. Utilized to understand the approach are photographs Leistner took at the American military base in Musa Qala (Helmand province, Afghanistan) during the implementation of the “Basetrack” media project in 2011. The theoretical basis for this study is Marshall McLuhan’s media theory, which was used by the photographer to interpret her works from Afghanistan. Leistner is the first to apply the various concepts shaped by McLuhan in the second half of 20th century, such as “probe”, “extension of man”, and the “figure/ground” dichotomy, to analyze war photography. Her blog and book entitled Looking for Marshall McLuhan in Afghanistan shows the potential of using McLuhan’s concepts to interpret the image of modern warfare presented in the contemporary media. The application of McLuhan’s theory to this type of photographic analysis provides the opportunity to focus on the technological dimension of modern war and to look at warfare from a technical perspective such as what devices and communication solutions are used to solve armed conflicts as efficiently and bloodlessly as possible. Therefore, this article briefly presents twelve iProbes that Leistner created based on her experiences from working in Afghanistan concerning photography, military equipment, interpersonal relations, and various types of communication.

“Propaganda for peace”: a Gramscian reading of Irish and Spanish Civil War photography

At the outset of the Spanish Civil War, Ireland’s ruling party were faced with the challenge of maintaining political hegemony. Revealing the old fault lines of the Irish Civil War, the opposition cast the government’s Non-intervention policy as pro-Communist and anti-Catholic; a refusal to support Spanish insurgents in what was perceived by the majority as their defence of the Catholic faith. Following McNally, this paper utilises Gramsci’s theory of hegemony to explore political equilibrium in the contexts of the Irish and Spanish conflicts. The notion of the “organic intellectual” enables a Gramscian reading of war photography, finding common visual language in the works of Robert Capa and W.D. Hogan as they contributed to national and transnational projects of hegemony. Through such a reading, the author finds cultural compatibility between the conflicts and casts the Irish revolutionary period in new international light.

War Photography: Díaz & Spencer’s coverage of the War of the Pacific (1879-1883)

In the study of 19th-century Latin American photography, the photographic capture of war and military operations has implicitly been equated with the eye of national states, understanding that photographers would want to show a positive portrayal of the military forces. However, war photography as a language of state power was not the point of departure. In most of the earlier examples of war photography, it was private photographers who first ventured into military conflicts almost as soon as the new visual technology was made available. They saw war as both an important historical event and a commercial opportunity. Experiencing with a technology that forced them to produce images of war stripped of battle action while trying to capitalize on the diverse interests in these conflicts, most photographers offered a rendering of war of ambiguous political meanings. In this essay, I argue that the photographs of the War of the Pacific taken by the studio Díaz & Spencer are one of the first examples of the successful use of war photography for nation-building purposes, that is, as national propaganda. Photographers had the challenge to create impressive, apologetic and heroic captures of the military forces, and Díaz & Spencer succeeded in creating a visual narrative congruent with Chilean official discourses, consolidating, rather than challenging, the Chilean state view of the war. Equally important, this allignment of political views was accomplished on account of Díaz and Spencer’s initiative—not that of Chilean state officials.