The article Regime-Made Disaster: On the Possibility of Nongovernmental Viewing collected from the book Sensible Politics: The Visual Culture of Nongovernmental Activism, New York, NY: Zone Books, 2012. The author Ariella Azoulay who is an art curator, filmmaker, and theorist of photography and visual culture, currently she is working as an assistant professor at Brown University. However, her study discloses a detail view how the Israeli regime turns the photography of their invasion on Palestinians to benevolent photographs of Palestinian refugees. Here in this article, Regime-Made Disaster: On the Possibility of Nongovernmental Viewing, Azoulay illustrates a detailed understanding about her concept of regime-made disaster as a particular …show more content…
She moreover mentions few noticeable features of Regime-Made Disaster like: though the disaster is fully visible, but citizens are trained not to recognize it as a disaster consequently it is a long time event and develops according to various phases. This kind of disaster represented as a non-disaster or as a disaster only from the victim's point of view. And finally," the means used by the regime to deal with the disaster or to cope with its aftermath do not offer a sweeping solution to end the disaster, but instead focus on side issues and/or are aimed at individual case" (Azoulay,2012:31). To talk about the history of Regime-Made Disaster she says "the first half of the twentieth century saw several regime-made disaster par excellence that were not grounded in democracies, but the second half of the twentieth century has produced disasters that take place within and as a part of the structure of democratic governance itself" (2012:29). Although she is talking here about the century-long history of …show more content…
Although she speaks here about the possibility of nongovernmental viewing, but she does not give us any example of this kind of photography as well as the further studies or the effects of nongovernmental viewing. Here another question also raises that, can we put nongovernmental viewing as an anti-image of the photography of regime-made disaster. And one more question may be added, in contemporary time while the digital platform is open for all and almost everyone is using and carrying a camera it is limiting the opportunity for ruling power to embedded the photographs and reconstruct the field of vision. Though the article was published in 2012 but the author does not talk about the last couple of years, time of the digital
Earthquake: a series of vibrations induced in the earth’s crust by the abrupt rupture and rebound of rocks in which elastic strain has been slowly accumulating; something that is severely disruptive; upheaval (Shravan). Tsunami: an unusually large sea wave produced by a seaquake or undersea volcanic eruption (Shravan). Combine these two catastrophic natural disasters, and it will be a day that will forever live in infamy through terror; a day much like that of October 28, 1746 in Lima, Peru, in which an entire city was destroyed within mere minutes. Author Charles Walker guides his audience through the devastation and wreckage of this heartbroken town and into the economic, political, religious, and social fallout that followed. Walker argues that the aftermath of this tragedy transformed into a voting of the citizens’ various ideas perceived of the future of Lima, theological consequences, and the structure of the colonial rule (p. 12).
He states, “A crowd in panic has no sense or conscience” (Esposito 71). This communicates the sheer horror and hopelessness of the trapped victims. The experiences of the witnesses compounds this image, making the book vivid and persuading the audience to consider the far-reaching nature of the tragedy. How prepared are we for disasters in the contemporary world? I could only shudder in fear as I visualized Esposito’s fear of ill-informed crowds. Esposito persuades me to embrace the concept of educating the masses to remain calm under storm to reduce the number of
Milton, Sybil. "The Camera as Weapon: Documentary Photography and the Holocaust." Multimedia Learning Center  Museum of Tolerance. The Simon Wiesenthal Center. 1999<http:// motlc.wiesenthal.com/resources/books/ annual1/chap03.html>.
The case study The Blast in Centralia no. 5: A mine Disaster No One Stopped is a useful lens through which to identify potential pitfalls for national security organizations. The most powerful lessons that ought to be learned by the case study are twofold. First, political interference in the work of governmental organizations can lead to dysfunction and mission failure. Second, the failure to conduct independent oversight over a governmental organization—especially when its performance has been openly questioned—permits that dysfunction to continue unabated.
Drea Knufken’s thesis statement is that “As a society, we’ve acquired an immunity to crisis” (510-512). This means that humans in general, or citizens of the world, have become completely desensitized to disasters, we think of them as just another headline, without any understanding of their impact upon fellow
This photograph, taken in 1967 in the heart of the Vietnam War Protests, depicts different ideologies about how problems can be solved. In the picture, which narrowly missed winning the Pulitzer Prize, a teen is seen poking carnations into the barrels of guns held by members of the US National Guard. This moment, captured by photographer Bernie Boston symbolizes the flower power movement. Flower power is a phrase that referred to the hippie notion of “make love not war”, and the idea that love and nonviolence, such as the growing of flowers, was a better way to heal the world than continued focus on capitalism and wars. The photograph can be analyzed through the elements of image as defined by ‘The Little Brown Handbook’ on page 86. There are a total of nine elements that contribute to the communicative quality of an image. The message that this particular image tries to convey is the strong sense of way that conflict should be handled; by way of guns or by way of flowers. The ‘way of guns’ is violence and excessive force which heavily contradicts the ‘way of flowers’ which is a more peaceful and diplomatic way of handling conflict or disagreement. This photograph depicts these ideologies through its use of emphasis, narration,point of view, arrangement, color, characterization, context and tension.
An image has the explicit power of telling a story without saying any words, that’s the power behind a photo. A photo tends to comes with many sides to a story, it has the ability to manipulate and tell something differently. There is a tendency in America, where explicit photos of war or anything gruesome occurring in the world are censored for the public view. This censorship hides the reality of our world. In “The War Photo No One Would Publish” Torie DeGhett centers her argument on censorship, detailing the account of graphic Gulf War photo the American press refused to publish. (73) DeGhett argues that the American public shouldn’t be restrained from viewing graphic content of the war occurring around the world. She believes that incomplete
Walsh, Julie. "September 11 Terrorist Attacks." In Campell, Ballard C., Ph.D., Gen. Ed. Disasters, Accidents, and Crises in American History. New York: Facts On File, Inc., 2008. American History Online. Facts On File, Inc. http://www.fofweb.com/activelink2.asp?ItemID=WE52&iPin=DACH0197&SingleRecord=True (accessed April 6, 2014).
Since the founding of Israel, the U.S. government has undoubtedly pledged its allegiance to the nation and unfortunately this support for Israel has created American hostility towards Palestinians. Under any circumstances, we never see images showing the struggles of Palestinian as disenfranchised refugees living in occupied territory, instead images repeatedly depict all Palestinians as evil terrorists. In the film Death Before Dishonor (1987), Palestinians are shown as heartless humans when a terrorist is brutally murdering an Israeli family in cold blood. In another scene, shot from the marine's point of view, the terrorist is shown happily torturing an American marine with a power drill. Washington’s policy makers failed to support the millions of Palestinians who have been made refugees, and live lives of poverty and squalor
This work follows in that of the purveyors of documentary photography. Like Richards, Jacob Riss went into the city slums a century earlier armed with a camera. In New York, Riss saw a glut of people, mostly immigrants, jammed packed together and feebly existing in filth. Riss, who was primarily a writer, found that his words were not communicating the ailments of society to the public as he wished. Then, the primitive flash was invented. Riss saw this as way to communicate the troubles he saw in the dark areas where the grossly impoverished lived. The outcome of Riss’ efforts was a startlingly powerful book of his images and text appropriately titled How the Other Half Lives. Though the photographic equipment has change through this time span, the aim of the photographers is the same: to educate the rest of the world of those that are forgotten or ignored, and in that way, bring about change.
Even though Zionist and non-Zionist hearts bleed together at cruelty and mistreatment of Jews, there are many differences such as, the portrayal of Jews. “The basic proposition is that three-fourths of the Jews of the world are living in hopeless misery. Of the ten millions, one-half live in the pale of Settlement in Russia under conditions which have been depicted repeatedly to the horror of civilized mankind. One million are in Galicia, ni...
In the course of the Iranian hostage crisis, the freedoms of Americans and Iranian’s were diminished. This was the result of the Shah, poor government leaders, and how the American hostages were treated. The Shah had a big impact on Americans and Iranians because of the conflict they started with special oil discounts. Poor government leaders like Jimmy Carter and Ayatollah Khomeini put chaos into America and Iran. The way the American hostages were accounted shows how people can be treated like they have natural rights one day and have them taken away the next. We can conclude that there are many ways to start conflict. And conflict can lead to many unexpected tragic events. A strong attribute that all government officials should strive for is the ability to resolve a problem before it gets bigger and bigger.
The issue about hurricane Katrina has been documented by many writers. Some had firsthand experience with the disaster while others relied on secondary sources of data. Though many authors remain as objective as possible in this matter, government continues to receive criticism whenever a new publication is released. However the book combined some elements of objectiveness and subjectivity so that facts of what truly happened are accounted. Though most publications criticize government on how it dealt with Katrina case, the truth is that it played a major role and the only underperformance shows up because the disaster was large than anticipated.
The Palestine Liberation Organization (PLO) is a complex movement, which stumbles from one setback to another. The PLO was riven with factionalism; it pursued revolution and diplomacy as if there were no contradiction between the terms. Then, at the moment of winning recognition from Israel, it seemed poised to lose its most precious asset - the support of the Palestinian people, whom it sought to serve. Barry Rubin wrote a history of the PLO in which he investigates and interprets its political circumstances, strategies, and doctrines from their inception in the late 1950s to the events of 1993 culminating in the Rabin-Arafat handshake on the White House lawn. His book aims to offer a general account of the organization’s history and politics. The task of illustrating the incompetence and corruption of the PLO and its leaders is not difficult, and Rubin seemed to have pursued this task with enthusiasm.
War is cruel. The Vietnam War, which lasted for 21 years from 1954 to 1975, was a horrific and tragic event in human history. The Second World War was as frightening and tragic even though it lasted for only 6 years from 1939 to 1945 comparing with the longer-lasting war in Vietnam. During both wars, thousands of millions of soldiers and civilians had been killed. Especially during the Second World War, numerous innocent people were sent into concentration camps, or some places as internment camps for no specific reasons told. Some of these people came out sound after the war, but others were never heard of again. After both wars, people that were alive experienced not only the physical damages, but also the psychic trauma by seeing the deaths and injuries of family members, friends or even just strangers. In the short story “A Marker on the Side of the Boat” by Bao Ninh about the Vietnam War, and the documentary film Barbed Wire and Mandolins directed by Nicola Zavaglia with a background of the Second World War, they both explore and convey the trauma of war. However, the short story “A Marker on the Side of the Boat” is more effective in conveying the trauma of war than the film Barbed Wire and Mandolins because of its well-developed plot with well-illustrated details, and its ability to raise emotional responses from its readers.