Censorship and Propaganda within War Photography

Abstract

This paper is considers the use of images and the discourse of Censorship and Propaganda within War Photography within war. The paper demonstrates that the deployment of imagery, often in lieu of language, rests on particular developments in the mass media and on the emergence of what Paul Virilio has termed 'technical fundamentalism' (2002a: 53). Technical fundamentalism is then considered in relation to and as a counterpart to terrorism, as a contrasting mode of valorizing technique which is nonetheless distinguished by its image politics and by its conceptualization of signification in general.

Table of Consents

ABSTRACTII

TABLE OF CONSENTSIII

INTRODUCTION1

Aims and Objectives1

Background1

Discussion and Synopsis7

The Depression and World War II10

The Cold War and the Vietnam Era11

Research Methods13

Conclusion14

CHAPTER I - HISTORY OF WARS15

The Crimean War15

The American Civil War18

World War One20

World War Two23

CHAPTER II - CASE STUDY: THE IRAQ WAR - A CONTEMPORARY SYNOPSIS28

History between America and Iraq28

Media Coverage of Iraq31

History on Photography and Manipulation33

9/11 and the War in Iraq36

Propaganda and Censorship in Iraq39

CHAPTER III - PHOTOGRAPHY AND MANIPULATION42

Why pictures were staged42

Leaders and photography Manipulation42

Technical Advancements43

How Politicians Manipulate the Media45

ISSUE OF MISTRUST45

CHAPTER IV: AN INCLUSIVE ASPECT ON THE MEDIA47

Newspaper depictions on the War47

Media Management on the War in Iraq47

The War as a Photo Opportunity48

Spin' on the War49

Examine Media Reporting53

Visual Imagery Play a Central Role in the News Media54

WHAT DOES THE PHOTOJOURNALIST PROVIDE?55

Photojournalism Owe Much To War56

Photography Have the Ability to Convey A Message57

CHAPTER V: CONCLUSION59

Conclusion59

What has been the role of war photography?59

War photography played an important role in the media60

Powerful photograph60

Media and the War Machine61

Public Opinion on Propaganda62

Introduction

Aims and Objectives

The aims of this dissertation is

To present various interpretations of an symbolic photograph of the different wars including The Crimean War, the American Civil War, World War One, and World War Two.

To contribute and discusses the relationship of photography, history, and photojournalism during the above mention wars.

To presents the current situation of Iraq war including the media coverage and history of photography and manipulation, 9/11 and the War in Iraq, propaganda and Censorship of photography in Iraq.

Background

War and Photography

From the earliest days of photography in 1839 the use of photography in war was being talked about. To be sure in the first 10 years of photography more than any other types of photographs taken were in portrait studios of soldiers in uniform leaving for wars. Both of the two original photographic processes, the Daguerrotype and the Calotype, announced in 1839, required exposures that were measured in minutes, so neither was suited to the photography of combat in the field. Nevertheless Joseph Louis Gay-Lussac argued, photography had in its capacity to render a landscape precisely. He cited one particular kind of landscape to make his point: “as three or four minutes are sufficient for execution, a field of battle, with its successive phases, can be drawn with a degree of perfection that could be obtained by no other means.” This was exampled when Frenchman Hippolyte Bayard (1801 -1887) one of the disregarded pioneer inventors of photography photographed the remains of ...