The Most Beautiful Girl They’ve Seen Or The Embedded Photojournalist Gets Picked Up!

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I have argued this again and again, and have been reviled and criticized for it again and again. And yet, nothing produced by any of the many number of reporters and photojournalists who have chosen to embed with the US military in Iraq or Afghanistan has convinced me to change my mind that embedded journalism is many things but never journalism.

It has been with nothing but great dismay that I have watched photojournalism’s highest awards and recognitions go to work that was produced in conditions and restrictions that we would have denigrated and mocked had they been imposed by one our ‘flavor of the year’ enemy states. I doubt that any reportage done from an embed with the Soviet Army that invade Afghanistan in 1979 would have been considered a crucial and appropriate documentation of the war in Afghanistan. And yet, we are ourselves happily convincing ourselves that ‘our’ boys are in fact producing crucial and appropriate documentation of our wars.

I was reminded of all this as I read a fascinating and funny piece by Peter Van Buren in Le Monde Diplomatique called ‘The War Lovers’ where he begins by asking the most relevant question we often avoid:

What is it about the military that turns normally thoughtful journalists into war pornographers? A reporter who would otherwise make it through the day sober spends a little time with some unit of the U.S. military and promptly loses himself in ever more dramatic language about bravery and sacrifice, stolen in equal parts from Thucydides, Henry V, and Sergeant Rock comics.

I have made my own arguments about the embed approach in a number of pieces, including The Transformation Of Pathology Into Pathos Or The Military Does What It Does And It Does It Well, and Wrapping Photographers Into The Packaging Of War, and a partial tongue-in-cheek piece called How We Refused To Embed With Brittany Spears, and Fighting Ghosts And Selling The Good War Or Why Are The Toy Soldiers On The Front Lines!, and others of course.

But there is a fascinating insight in Van Buren’s piece that is worth thinking about. He points out that in fact the embedded reporter has tremendous access within the military, to its soldiers, and even to classified details coming across over the wire. They also have more liberty to report what they saw than we may imagine. And yet, few do. Van Buren’s argument for why the military can allow this to happen and not worry is striking, pointing out that

…the military wasn’t worried..[b]ecause its officials knew perfectly well that for reporters the process was — not to mince words — seductive…[E]embedding with the military felt like being invited in — no, welcomed — for the first time by the cool kids.

And the camaraderie and companionships that develop ensure the appropriate voice and the appropriate check on serious reporting. As Van Buren continues:

You go out with the soldiers and suddenly you’re riding in some kind of armored, motorized monster truck. You’re the only one without a weapon and so they have to protect you. Instead of making fun of you and looking at you as if you were dressed as a Naughty Schoolgirl, they’re cool with it. Bored at only having one another to talk to, fellow soldiers who eat the exact same food, watch the exact same TV, and sleep, pee and work together every day for a year, the troops see you as quite interesting. You can’t believe it, but they really do want to know what you know, where you’ve been, and what you’ve seen — and you want to tell them.

For women, it works similarly, but with the added bonus that, no matter what you look like, you’re treated as the most beautiful female they’ve seen in the last six months — and it’s probably true.

Of course, we reporters and photojournalists never talk about this. As always, there is such little self-reflection within the practitioners of the craft that it is staggering to think that they are being asked to go out and document the world for us. In fact, in a world drowning in images, they may be producing the permanent and definitive images of a world. And it is an image where the ‘other’ is increasingly and consistently seen through the sights of a gun. Or, as Van Buren points out, through …wet dreams passed on to the public.

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From “Headmen” To “Hitmen”–A People Brutalised Yet Again

Another photographer turns up at another manufactured ‘traditional’ geography, and produces another set of racist, reductive and entirely fake set of images. I don’t mean ‘fake’ in the way that most photographer’s get all concerned about. I mean ‘fake’ in a much more serious way, one that reduces people to social, political and historical caricatures and makes them into concocted objects for class titillation and voyeurism. And this American magazine–mired deep in the heart of American imperialism, its violence and its brutality–publishes the images and accompanies them with what can only be described as one of the most incredibly ahistorical, obfuscatory and infantile articles I have read outside of stuff frequently published by Time Magazine and/or The New York Times.

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Thomas Sankara’s Restless Children

The project is now complete. Although, we may never really complete the telling of this remarkable story. You can see the project by clicking on this link here, or on the image below.


Eyes Of Aliyah–Deport, Deprive, Extradite Initiative By Nisha Kapoor

I have publicly and on this forum very explicitly argued against the strange ‘disappearance’ of black/brown bodies that are the actual targets and victims of our ‘liberal’ state policies of surveillance, entrapment, drone assassinations, renditions and indefinite detention. I recently argued:

“Western visual journalism, and visual artists, have erased the actual victims of the criminal policies of the imperial state. Instead, most all have chosen to produce a large array of projects examining drone attacks, surveillance, detentions and other practices, through the use of digital abstractions, analogous environments, still life work or just simply the fascinating and enticing safety of datagrams and charts. Even a quick look at recent exhibitions focusing on the ‘war on terror’ or wars in general, have invited works that use digital representations of war, or focus on the technologies of war. An extreme case of this deflection are recent projects on drone warfare that not only avoid the actual brown/black bodies that are the targets of deadly drone attacks, but are not even produced anywhere near the geographies and social ecologies where drone attacks continue to happen! Yet, these works have found tremendous popularity, though i remain confused what kinds of conversations or debates they provoke given that the voices of the families of those who have been killed, are not only entirely missing, but people who can raised the difficult questions about the lies and propaganda that are used to justify the killings, are also entirely missing.”

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Public Release of “The Sinner”

This is my first feature length documentary film and we–Justice Project Pakistan, with the guiding support of Sarah BelalRimmel Mohydin and others at Justice Project Pakistan, are finally releasing it.

And we are doing it first in Pakistan.

The film takes us into the world of capital punishment in Pakistan through the life of one man; Jan Masi. Jan Masi worked as an execution for nearly 30 years, and claims to have executed over 1800 people. He started his work in the enthusiastic pursuit of revenge for the execution of Pakistan’s Prime Minister Zulfiqar Ali Bhutto.

This isn’t a typical documentary film. No talking heads. No linear story-telling. No polemics or moral grand standing. No righteous exclamations against capital punishment. Instead, Jan Masi, his life, his scars, his fears and despair, act as metaphors for the meaning of capital punishment in Pakistan, and the consequences it has on the broader Pakistani society.

Sudhir Patwardhan

Sudhir Patwardhan.

Can you discover ‘an influence’ after the fact?

What do you call someone who seems to embody your eye, your sensibility, and yet you had never seen his / her work, and yet, when you now see it, you see the ‘influence’…the similarities?

Is he confronting the same questions? Is he seeing this incredibly complex and multi-layered world with the same desire to depict it as close to that complexity as possible?

I was taken aback. The aesthetic pursuit is so familiar. It is as if he is a step ahead of me. He is a step ahead of me.

I am going through these images–gorgeous, striking, unique, and no, I refuse to give you some ‘European’ reference to understand them in any way. They are Patwardhan’s and his alone. But I want to make them as photographs.

They are the photographs I would make if in Mumbai. It is beautiful stuff. It makes me want to go and make photographs.

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Make It Right For Palestine, November 4, 2017

Be there. Hyde Park. Speaker’s Corner. London. 12:00 noon. 4th November, 2017.

The Polis Project…Is Up And Running

If you can’t join them, then just do it on your own.

We launched a new collective focused on research, reportage and resistance. The specific goals and objectives are being developed as we speak, but the idea is a simple one: to collect under one banner a group of individuals from different fields – artists, writers, academics, photographers, intellectuals, poets and others, who are consistently working against the grain. In this time of collective conformity, and a media sycophancy to power and extremism, some of us felt the need to create a small space where people are still determined to refuse the agendas of political power, debilitating capitalism, nationalist extremism and neoliberal idiocy, and remain fools in their hearts, and idealists in their souls.

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Short Doc: “As If A Nightmare”;The Story Of Former Bagram Prisoner Abdul Haleem Saifullah

 

We are commemorating 9/11 this week, but by remembering the ‘other’ victims of that event that few chose to remember. These are the brown bodies that rarely make it into visual media projects, that since 9/11, have chosen to hide behind digital representations, data charts, and other visual forms that do a lot, but never permit us to see or hear the brown and black people who actually suffer the consequences of drone attacks, sweeping surveillance, targeted entrapment, renditions, indefinite detentions, torture and other forms of inhumanity that today liberal minds seem to be able to easily justify.

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Short Doc: “Prisoner 1432” – The Story of Former Bagram Prisoner Amanatullah Ali

 

We are commemorating 9/11 this week, but by remembering the ‘other’ victims of that event that few chose to remember. These are the brown bodies that rarely make it into visual media projects, that since 9/11, have chosen to hide behind digital representations, data charts, and other visual forms that do a lot, but never permit us to see or hear the brown and black people who actually suffer the consequences of drone attacks, sweeping surveillance, targeted entrapment, renditions, indefinite detentions, torture and other forms of inhumanity that today liberal minds seem to be able to easily justify.

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10 Things To Consider…

I recommend that photographers, photojournalists, documentary photographers remember these wise words by Tania Canas, RISE Arts Director / Member – I am copying and pasting it here. As brown and black bodies are stripped of their clothing, as brown and black children are dehumanised to mere misery, as brown and black women are reduced to simply victims, as ghettos and brothels and refugee camps and slums become the ‘paint by number’ formula for White photographer’s career and publishing success, it becomes increasingly important that those of us on the receiving end of White ‘largesse’ begin to build obstacles, speak back, and refuse / reject these ‘representations’ and their reductive, violent and brutal narrative frames. We have lost too much, and are in danger of whatever little we have left as humans and as histories, if we permit this process to continue.

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