In this Time Magazine article, writer Fred Ritchen debates the merit of violent photos in media. He begins with the events that prompted him to write this essay. He lists “A recent slew of situations resulting in catastrophic violence and death” (Ritchen, p1). This grouping of events, ranging from disease to plane crashes, has brought to light again the question of what a journalist’s duty is in reference of how much of a horror to show and how much to keep from the public. Ritchen’s argument culminates to the fact that the space taken up by showing these horrors of war and similar atrocities could be better used to prevent further events. The first argument that Ritchen brings up is the idea that those who refrain from posting a photo “because …show more content…
He argues that this desire to see the stories of war comes from the same place as the desire to watch an apocalyptic movie. The description of these war pictures very much resembles one of a movie: “as if a struggle for good against evil might be being played out before the camera, with elements of heroism, bravery, betrayal, and cowardice, and with winners and losers” (Ritchen, 2). To see war is to see the closest thing to a movie in real life. This is supplemented by the desire to share the photos that resides in the photographer. Ritchen argues that there is a promise made when a photograph of such atrocities is taken: that it will be shared and given its best chance of reaching the eyes of someone who can change this, or someone who can prevent it. This gives evidence to the point that the author is not arguing, on the surface, a surprising choice; but this does, in its own way, give the author a greater credibility. By acknowledging the ‘other’ side, he humanizes them and changes the essay from simply arguing a point to an article that explores the idea of this debate and culminates to a decision. When we are being told to believe something, those that give a healthy dose of skepticism see red flags go up; but when we are led through the author’s ideas and how he comes to that stand, we can come to the same conclusion naturally. This also gives the idea that …show more content…
We consider the readers and their effect on the debate that, essentially, is of them. He makes the point that, “a grieving mother in Gaza deserves the whole world’s attention” (Ritchen, 3), but the consequences of showing everything that deserves to be shown outweigh the benefits. Showing all of the horrors that the world has to offer can cause a desensitivity to them as “the reader tries to disconnect” (Ritchen, 3). He gives a personal example of how hearing about these travesties causes already such a large scar on his psyche, that a picture serves to do nothing but cause more pain. He contrasts the ideas made earlier in the essay of owing the victims of horrors to have their stories told by making an argument that it is just as important to ensure that those stories have their full effect. The reader of the essay considers their own experiences and most likely comes to the same conclusion that when confronted with all of the horrors, they are overwhelmed, but a small taste of each can strike the perfect balance. The sharing of a story in words gives a sense of wrong that exists in the world and refraining from shocking the reader can give them a sense of ability to change. It has a better chance of sparking an idea in a reader to call their representative and
The author’s narrative, ripe with horrifying descriptions, is nonetheless told with compassion appealing to the emotions of the audience
In these cases of the Capital Hill shooting and the Atlantic rescue; I will criticize the news media industry who decided that it was appropriate to show videos of which these kid’s traumas will forever in history because they chose to reward the “heroes” with fame. These heroes will live on in fame, the kids trauma will never be left unspoken. With my own experiences in my mind, I criticize these “heroes”. True
Elie Wiesel’s speech falls into the deliberative genre category, and was designed to influence his listeners into action by warning them about the dangers indifference can have on society as it pertains to human atrocities and suffering. The speech helped the audience understand the need for every individual to exercise their moral conscience in the face of injustice. Wiesel attempts to convince his audience to support his views by using his childhood experience and relating them to the harsh realities while living in Nazi Death Camps as a boy during the Holocaust. He warns, “To be indifferent to suffering is to lose one’s humanity” (Wiesel, 1999). Wiesel persuades the audience to embrace a higher level of level moral awareness against indifference by stating, “the hungry children, the homeless refugees-not to respond to their plight, not to relieve their solitude by offering them a spark of hope, is to exile them from human memory”. Wiesel’s uses historical narrative, woven with portions of an autobiography to move his persuasive speech from a strictly deliberative genre to a hybrid deliberative genre.
Since the publishing of the comic book MAUS, there has been a broad debate not only from the survivors of the Holocaust but within the Jewish community pertaining to the appropriateness and representational meaning of the Holocaust in the modern literature. Many people who participate in the discussions or read the book have perceived the comic fashioning of the book as trivial, hence making the book appear as mocking, derogatory and comedic. Nevertheless, this is not the real purpose for the format employed by Art Spiegelman. The comic representation plays a critical role in ensuring that the message is at home. This paper seeks to clarify on the issues that have been raised against the comic representation of the book.
The image itself is a side by side comparison of three close ups featuring the soldiers face. Of the little background visible it is colourless and features no objects. As a result, the face in the image recieves all of the audience’s attention. The images are placed in a chronoligical order with the portrait of the solder prior to his deployment on the left, during in the center and him after returning home on the right. By placing the images in this order the photographer, Lalage Snow, creates a story, unfolding right in front of the audience’s eyes. Although each induviduals interpretation of what that story tells may differ there is an underlying theme that resonates with emotional and physical stress, strain and fatuige.
Dr. Herman describes the traumatic experiences that distressed people suffered as atrocities. These atrocities in their context are hidden behind a veil of silence over those who suffered trauma and witnessed it as well. “Horrible events” is the way the author described in the book some of the causes of trauma. She identified some of these people involved as: “rape survivors, combat veterans, battered women, political prisoners, survivors of vast concentration camps created by tyrants who rule nations and the survivors of small, hidden concentration camps created by tyrants who rule their homes.”
As I started my walk from my dorm to Sarah Moody Gallery on Tuesday afternoon, I started to think about what I was about to see and how it would make me feel. I never expected to get so emotional by looking at a few pieces of art on the walls and sculptures on the ground. Once I arrived at the gallery, I started to examine my surroundings. From the outside, the gallery looked like an old, rustic brick building, much like any other building at the University of Alabama. Ms. Dyer started to tell the class about the authors journey to Syria, and my heart started to weep for the children. She told us that James Neel was supposed to visit a Syrian refugee camp; however, he did not because of his encounter with a few former Syrian fighters that wanted to take him to see the real effects of shrapnel on the children. There, he saw children with severed spines, missing limbs, and extensive burns. Ms. Dyer continued with the story, and she gave the class a few statistics. The most gut wrenching statistic was that every five minutes, a child died. She ended the story, and we were left to make our own opinions.
On January 3rd, 1964, Martin Luther King got honored as “Man of the Year” on Time Magazine. Man of the Year was issued to recognize a person(s) who made the most influence in that year. The magazine included a 7 page feature of all Martin Luther King's memorable moments during the civil rights movement. Their recognition on King bringing a huge positive impact in changing history brings out how outlooked he was. At the time, Time Magazine was very popular, it was one of the first magazine company's made, and was where people got their news. People who weren't interested in how powerful the movement was, got a strong everlasting idea on how much influence he brought to America. He continued to gain awareness. Towards the end of the year he
This method implies displaying as much gore as possible to entice an audience into viewing. From the Abounaddara collection, Media Kill and Kill Them! present disdain towards this method as well as the media. In Media Kill, an unknown person discusses the media’s demands for footage of horrific occurrences that happen in Syria. Besides the publicity, broadcasting the footage does not contribute to preventing the next massacre or the end of this war. It’s in the media’s interest to cover the massacres to dehumanize and exploit the Syrian’s dead bodies for the spectacle and profits. Not only do these news stories fill the media’s pockets, but they also satisfy this human need for voyeurism. Kill Them! illustrates Judge Jeanine Pirro’s rant about her advocating for a war against the Islamist radicals. In this tirade, Judge Pirro demands that the U.S. “arm those Muslims to the teeth.” before turning the other way. In Kill Them!, the Abounaddara collective extracts phrases that Judge Pirro said, editing them in a fast-paced and erratic fashion. Coupled with distorted images of soldiers and bombings, this video demonstrates how radical and deranged Judge Pirro sounded. With this example, a parodic aspect of Abounaddara presents itself to convey how absurd Judge Pirro and the media are. In both videos, the element of media’s pornographic style or gory desires
The media today is a very powerful tool of communication. It gives real exposure to mass audiences about what is right and wrong. With that comes the horrifying pictures of things such as earthquake aftermaths and disturbing videos such as the killing of Gaddafi. This poses the age-old debate of whether news organizations should publish graphic images, or err on the side of caution and withhold them. It is also questionable as to what is measured as disturbing. In this essay, I will explain what I feel is considered disturbing. I will also explain why we as citizens need to see such images, as well as why some do not.
A powerful and provocative graphic novel, Maus, generates a Jewish individual’s life of grotesque and horror. With its ability of perception and interpretation, it tackles the main points of the ominous Holocaust and delivers a spooky aura to the absorbed audience. In comparison to Schindler’s List, the graphic novel shines brightly than the pale movie due to its realism and humor that is constantly present throughout the storyline. The novel has the ability to connect to the audience; thus, it gives an in-depth look and overall comprehension of the massacre that Spiegelman is trying to communicate. The graphic novel, Maus by Art Spiegelman, brings an honest account of the Holocaust to a wide audience because of its historical truth and intriguing viewpoints and characters that shows the effect and process of the genocide.
In Precarious Life, Butler mentions the images of children burning and dying from napalm in the Vietnam War that “disrupted the visual field.” Majority of time, images shown in media are considered to be “speakable”: “they do not show violence, but there is a violence in the frame...certain lives and deaths either remain unpresentable or become represented... The first is an effacement through occlusion; the second is an effacement through representation itself" (Butler, 147). Reality is not depicted in these images, but rather in the lack of representation itself. This is because the lack of representation holds more truth than what is directly in front of us.
Craig Allen talks about how valuable it is for viewers to witness uncensored content because we have the right to know what is really going on. Censorship has played a big role when it comes to keeping the harsh realities but I don’t think that should happen anymore. After reading the article, I agree with Craig on the fact that uncensored pictures should be allowed to view just the way they are, and maybe that way we can understand the extent of destruction war has caused on people. How will we ever know the damage caused if we are prevented to see the real content? It it time the media decides to provide is with uncensored pictures.
When we switch on the TV and see a news clip about the latest Syrian beheadings, we instantly experience feelings of anguish and unease, as we witness something so disgusting and morally wrong, yet at the same time we see so much of this kind of thing every day that it begins to lose its shock factor, and we can’t help but think ‘here’s yet another story of devastation or horror in the world.’ Media images of traumatic events have become “living room sights and sounds” (Sontag 18), where the media’s motto seems to be that ‘If it bleeds, it leads.’ We also have to consider the fact that our lives are so busy and constantly moving at such a fast pace, that we may see these images and display shock and outrage at the time, yet as soon as we finish viewing our attention is caught with something else, and we have already moved on. Sontag elaborates on the idea of repeated exposure to traumatic images, by using a quote by Mort Rosenblum of the Associated Press to strengthen her point. He says “A basic problem is that no human drama stops the moving eye any longer unless correspondents find some new angle that tugs heartstrings in a new way. And each tug stretches them
Throughout recent years, the influx and presence of violence has significantly increased in the media. From news reports on the television to the newspaper stand on 8th Avenue, many worry about the unknown and what problems might be (present in the future) lying ahead. Few believe the media has created a culture of fear and violence, although I am here to inform you the main reasons why media has impacted today’s culture in a negative aspect. Today’s media creates various news stories to gain viewers attention, however this changes the perception on how many view the outside world labeling it as a harmful place. Throughout this essay, I will be focusing on the vast issues that surround how violence is controversially