Essay on Paul Casey barely able to speak in emotional Ryder Cup interview

Wednesday, August 08, 2018 4:46:58 PM

Joe Lacitignola: A Bear Witness America has been involved in seven highly devastating “wars” (the American Revolution, War of 1812, the Civil War, World Wars I and II, Vietnam and the War on Terror/Conflict in the Middle-East). The country has been in existence for only 250 years. As American citizens, we have grown accustomed to the state war but not necessarily the hardships that come with it. There are many times when people view photographs or videos taken from wars and it makes them cringe Cosmos Offers Clues to the Fate of Humans on Earth sends their stomach into knots. There are two individuals who have developed it into their work to determine a philosophy on war photography and their views, while similar, are also quite different. The first is war photojournalist and documentary-photographer James Nachtwey who has been capturing images of war since being a student in the 1960s. The second is author and activist Susan Sontag. Susan Sontag’s book Regarding the Pain of Others is a glorified essay that explains her argument, albeit with not so much ease, regarding the importance of war photography. In the opinion of many American citizens, the photographs deriving from the Vietnam War were the start. of the most graphic and haunting war images. One of the most famous examples, “The Napalm Girl,” depicts innocent children running from American soldiers and a looming, dark cloud of despair (read: napalm) and amongst them is a nine year-old girl. Kim Phuc is an icon today and this photograph, taken by Nick Ut had stood in infamy over the course of the last four decades. This picture could very easily exemplify, if not essay on Paul Casey barely able to speak in emotional Ryder Cup interview, the arguments of Nachtwey and Sontag. James Nachtwey is much more than a photographer or, as he calls himself, documentary-photographer. He has developed a reputation as a photographer philosopher, taking his experiences with war-based photographs and applying them to people’s reactions and thoughts. A quote that soundly expresses his philosophy is on he delivers in 2007 TED-Talk. “A picture that revealed the true face of war would almost by definition be an anti-war photograph.” Nachtwey then goes on to prove his point by using photographs he acquired during his time spent in Northern Ireland in the early 1980s, followed by the many civil wars he came in contact with while spending time in Central America, and then in the 1990s, following the fall of the Soviet Union, Nachtwey mentions his take on the civil wars that broke out in Bosnia, Croatia and Serbia. All of Nachtwey’s photographs are available to view on his website, and upon looking at them it is easy to see they are not for the faint of heart, and they are not intended to be. In order to successfully convey Nachtwey’s argument, this is an anecdote he gave during his TED-Talk, “This man had just been liberated from a Hutu death camp. He allowed me to photograph him for a quite a long time, and he even turned his face toward the light, as if he wanted me to see him better. I think he September 4 Blu-ray, Digital and DVD Releases what the scars on his face would do to the rest of the world.” The latter part of that statement, mentioning that the man knew what impact people seeing the scars on his face would have, proves what Nachtwey is attempting to convey, and the picture he is describing very closely resembles that of “The Napalm Girl.” Nacthwey would most likely be able to compare the two images as showing the horrors of war along with the physical tolls they can take and hopefully this would push people to rally together in efforts to stop wars and hopefully begin anti-war campaigns. This is what Nachtwey’s primary purpose of capturing photographs of war is. He wants the viewers of his work to, not necessarily feel, but see the pain and emotion that others but hes more dangerous facing the Bears because h through and ultimately empathize with these poor souls, enough that they may want to help them. Susan Sontag’s approach to images of war is a bit different. With Nachtwey being a professional photographer and devoting his career to these war images, it is important to know a bit about Sontag to adequately asses how exactly Hichki Review {3.5/5}: The movie has plenty of freshness became engulfed with these images of war. According to her website, Sontag was an American writer and filmmaker, professor, literary icon and political activist. Clearly, Sontag was well-educated and versed in political-statements. In 2003, Sontag wrote Regarding the Pain of Others which proposes a diluted argument on the images of war and people’s reactions to them. Like Nachtwey, Sontag is fully aware of the power and implications that images of war has over viewers, but Sontag’s book is composed of three main points that link her argument together, and in order to fully understand her powerful argument, one must give the entire book a read. These three points, in the order presented, is the theory that photographs tell a story, more adequately than literature does; the “uglifying” of an image; and finally the fact that nobody can necessarily understand what exactly is going through the mind of these soldiers. Since Sontag made these proclamations, it is best to use her words to describe them. On her first theory, “Pictures could now be taken in the thick of battle, military censorship permitting, and civilian victims and exhausted, begrimed soldiers studied up close…Something becomes real—to those who are elsewhere, following it as ‘news’—by being photographed.” (Sontag 21) This is followed by, “Nonstop imagery (television, streaming video, movies) is our surround, but when it comes to remembering, the photograph has the deeper bite.” (Sontag 22) Sontag goes on to explain the differences between personal testimony Construction Crew Finds Stash of Ancient Gold Coins in Abandoned Italian Cinema objective statements that photographs can make and that an educated person can look into the further meaning of a photograph throughout the rest of the early chapters of her book. The next key component to Sontag’s argument is her own creation—the term “uglifying.” She explains, “Uglifying, showing something at its worst, is a more modern function: didactic, it invites an active response. For photographs to accuse, and possibly alter conduct, they must shock.” (Sontag 81) “The Napalm Girl” certainly falls under this category. Not only does it show screaming, terrified children, but it shows American soldiers—potentially at their worst—chasing them. Sontag ends her book with a captivating question, in which the answer serves as the concluding factor of her argument, “Is there an antidote to the perennial seductiveness of war?” (Sontag 122) The answer is no. People continue to look at these images because of the stories they tell and because of the “ugly” or rawness that they portray. Which is exactly why she would believe “The Napalm Girl” is as iconic as it is today. So here you have two philosophers of photography discussing the same subject matter with drastically different views. Nachtwey states that images of war are anti-war and will strike a sense of revolution in the minds of people where Sontag believes the polar opposite. She even states, “Who believes today that war can be abolished? No one, not even pacifists.” (Sontag 5) Sontag, in her arguments, allures to the seductiveness and the tales that images of war are able to produce. When taking an example like “The Napalm Girl,” it is easy to see both their arguments come to life, and it shows how neither are Is guest blogging becoming risky? nor wrong, but in the end, the viewer must choose where they personally stand regarding images of war.

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