They are under fire while the blades of the helicopter create a windstorm visible in the foliage - to the right is French photographer Catherine Leroy, one of the few women photojournalists in the war. There is nothing. The woman is surrounded by soldiers and photographers who wait out her last moments doing their job. Losses in the operation pushed US casualties to their highest level of the war - for the first time twice that of the South Vietnamese. It isn’t only academics that adopt such theories - this is Errol Morris the filmmaker: “All alone – shorn of context, without captions – a photograph is neither true nor false…For truth, properly considered, is about the relationship between language and the world, not about photographs and the world.”[15] The term “properly considered” suggests photographs might appear at first sight to have at least some partially realized truth but upon further consideration images turn out to be discursive constructions. Crewdson, Mosse or Wall are not dealing with "reality" but rather with discursive, conceptual, syntactic systems, in order that their photographs may be seen as "Art" as a matter of course. These sorts of 'small moments' are often more revealing that dramatic confrontational shots of major action - the soldier looks as lost as the dog - both with no direction home - they have only each other. I am very grateful to you. Both arguments presume that images are directed exclusively toward our emotions, manipulating them toward some agenda, with the viewer a helpless, passive, observer. Gödel in particular destroyed the idea that a system could ever claim to be complete and explain itself rigorously, consistently and completely. The same day the NVA marched into the city and raised the red flag of North Vietnam over Saigon. In Burrows color seems to act as a counterpoint to narrative action. The photo helped turn public opinion against the war. The smoke and dust directly below create a suddenly beautiful space and light that is almost metaphysical and psychedelic were it not for the insistent narrative line - the immediate job at hand that covers the bottom of the picture - getting those supplies. Sean Flynn and Dana Stone are probably the best known of these fearless independent photographers. Are they keys or identification? Flynn and Stone simply disappeared in the chaos - their bodies were never recovered - a story that already hints at the corrosive death instinct at the heart of the colonial enterprise depicted in Joseph Conrad’s An Outpost of Progress and Heart of Darkness, two novellas that would anticipate the primary American tragedy of the 1960’s by half a century. In effect 1956 is when the war began in earnest and when Americans became directly involved. By 1970 the war effort expands to include Cambodia and Laos, two countries used by the NVA to safely transport food, provisions, artillery and even military personnel safe from American air strikes. Those that suffered most were non-combatants - women and children - this was their nightmare moment come true. My middle granddaughter Hilary is cheerleader there, Presentation to sixth grade class Williams elementary school Pell City Alabama. Not only do they resist them, but they are immune. Larry Burrows Reaching Out 1966. That "Seed" of "Southern Truth!" To me, this photo shows courage, and fellowship. Language systems, which can presumably be freed of emotional entanglements through rigorous scrutiny - an academic myth if ever there was one - is the key that presumably unlocks the secrets of photographic mysteries, finds the hidden agendas, and puts the riddle of images to rest. For his dramatic photographs of the Vietnam War, United Press International staff photographer David Hume Kennerly won the 1972 Pulitzer Prize for feature photography. While Burrows' image has been used as stock reference for countless war films since then - most famously Francis Coppola's Apocalypse Now and Terence Malick's The Thin Red Line (1998) - the poetics of the picture are unique to that situation. This is Ulrich Baer: “We need to return to a concept of aura that may permit us to partially recover the troubling realities potentially lingering in photographs of historical trauma.”[13] Ulrich Baer’s argument here is – much like Barthes again– an attempt to come to grips with the obvious emotional power of photographs and to understand the conventions that govern them.
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