Religion, Nationalism, and Terror

World Press Photo of the Year 2006
Spencer Platt, USA, Getty Images. Young Lebanese drive through devastated neighborhood of South Beirut, 15 August, 2006

Munson: The main reason for recording human brutality, in pictures or in words,  should be to induce humans to become more humane. It should obviously never be a form of “voyeurism.” Those who record the agony of others violate their privacy in a way that can only be justified if it induces others to recognize the need to eliminate or at least curb unnecessary violence. Violating people’s privacy simply to take a prize-winning photograph is wrong.  But if a picture portraying human brutality can both induce humans to become more humane and win prizes, that is fine. Indeed, the prize may well increase exposure to the picture and the basic message it is intended to convey.

Mai Ghoussoub, Beirut and contradiction: reading the World Press Photo award, openDemocracy

Four stylish young women, an open-topped car, the rubble of war-torn Beirut … but where is the real power of Spencer Platt’s prize-winning image, asks Mai Ghoussoub.

(This article was first published on 13 February 2007)

I am certain that Spencer Platt’s picture which won the World Press Photo prize for 2006 looked disturbing and even repellent to most viewers at first glance. I admit that it bothered me when I first saw it on my screen. But I also admit that I kept on looking at it. What was it that intrigued me in this picture despite my unexplained revulsion? Why did I feel that I had to write about what I saw in the picture?

…I went to a housewarming party and I overheard two young Lebanese arguing about the same photo. Both were in their 20s and very “cosmopolitan”. One said: I think this is a great photograph, it shows us as we are, not people associated only with war and destruction. The second one was appalled and said: this is the “new orientalism” - instead of the women depicted in Delacroix’s classic orientalist paintings, today we have these modern, model-type Lebanese women against a background of war and poverty….I believe that the photo is stunning in the metaphor it creates about war photography. It tells us about the voyeurism of the photographer, of the act of taking photos in tragic situations: if there is a contradiction, it is in the encounter between art, beauty and tragedy. Covering a disaster in order to create a striking image is what Robert Capa did best, he became an icon for it and we, the viewers are becoming addicted to this art form.