The solution to both problems was found in the wholesale concoction of a brand new terror threat that was branded “The Khorasan Group.” After spending weeks depicting ISIS as an unprecedented threat – too radical even for Al Qaeda! – administration officials suddenly began spoon-feeding their favorite media organizations and national security journalists tales of a secret group that was even scarier and more threatening than ISIS, one that posed a direct and immediate threat to the American Homeland. Seemingly out of nowhere, a new terror group was created in media lore.
And so we learn something we had suspected – that ‘terror’ threats are being manufactured, and justifications for more wars being created in the corridors of the White House and the Pentagon.
I was reminded of something that one of George W. Bush’s aides once said:
“We’re an empire now, and when we act, we create our own reality. And while you’re [journalists / photojournalists] studying that reality—judiciously, as you will—we’ll act again, creating other new realities, which you can study too, and that’s how things will sort out. We’re history’s actors…and you, all of you, will be left to just study what we do.”
In fact, I would go one step further: it isn’t a ‘reality’ but a staged performance that they create, and the journalists / photojournalists – unable to think or remember history, largely uninformed and critically weak, merely document. And sell it to the citizens of the Republic.
I have to write more about this phenomenon, particularly as it exists in the field of photojournalism. Nothing amputates history and compartmentalizes and a situation more effectively than a powerful photograph. One of the most effective uses of photography is the way in which is obscures broader political, social, economic and historical facts, and seduces the viewer into believing that only which is presented as a spectacle is what matters. It is the equivalent of a ‘sleight of hand’ that a magician uses to distract the viewer while using her other hand to set up the subterfuge that makes us believe we have just experienced something magical. The ability to compartmentalize, to reduce life, to just a tiny moment, is a propagandists wet dream – it freezes all else and highlights only that which is being shown. But what is insidious is that not only does the viewer get fooled (and curators and photography critics it appears!), but the photojournalists herself gets fooled. Instructed to capture a ‘humanitarian crisis’ – a neat ‘compartmentalization of a complex social and political reality, she ends up believing in the theatre she is performing in.
This compartmentalization was precisely the underlying foolishness that led to the rather embarrassing situation at Visa Pour L’image this year where photographer Yunghi Kim attempted to defend her misrepresentation of the aftermath of the Rwanda genocide as a ‘humanitarian crisis’ which was was sent to cover. Taken to task by a journalists for suggesting that the Hutus in refugee camps where there only as a humanitarian situation and not genocidiares fleeing in the face of a defeat.
Since her editors told her it was a humanitarian situation, she went and created the images, and the intellectual belief, that it was. That was the assignment, and she produced it. Those were the parameters, and she delivered to it. We have hundreds of examples of such ‘professionalism’ where photographers simply follow the requirements laid our for her, and deliver without really going past the mandate. The problem isn’t that Kim got the story wrong, or that her editors used it incorrectly, but the fact that despite knowing what the situation really was, and perhaps even seeing evidence of it on the ground, she chose to simply and without protest or insight, deliver it as it was needed. But for me, the problem lies elsewhere, and touches on the argument of manufactured realities.
What is perhaps shockingly egregious about the Kim situation is that despite the 20 years that have passed since that event, Kim never updated her understanding of the situation but merely repeated age old argument in her defense – even the captions were never updated. It was as if the photographer was intellectually frozen by the photographs and unable to update and mature her views. Or, that she never felt the need to since her work was celebrated, featured repeatedly, even given a New York Times stamp of approval i.e. it was labelled as the historical truth and then left at that. There was no need or necessity to think further than the double-page spreads and the editorial pat-on-the-back, as strong an affirmation of right and truth as most photojournalists seem to want to get. I will write more about this Visa / Kim fiasco at a later date. It encapsulates so much of what is wrong in the way photo stories are constructed, and produced. And what is missing in the photojournalists idea of herself. And lets be clear, there are plenty of ‘world class’ photojournalists who even now continue this myopic, compartmentalized work – recently demonstrated by many covering the Yazidi situation for example.
In the mean time, lets enjoy the fine, award winning work that will now flow from our ‘finest’ and ‘world class’ photojournalists shilling for the American propaganda machine and gleefully repeating non-facts, and non-reality for the public. But damn those photos are going to look incredibly amazing.