Picturing Violence

Reinhardt discusses the problems and different ways in which aesthetics function and are seen in pictures that depict the subject in pain, suffering or in war.  Reinhardt begins with talking about the war in Iraq and how many situations are not shown in the media do to the political repercussions that these would cause.  This decision just shows the sheer power that a photographer or photograph can hold.  Reinhardt then transitions into the discussion of the pictures which came out of Abu Ghraib of war prisoners being tortured and humiliated.  These photos were the main source of humiliation for the prisoners though the acts alone were awful, inhumane, and extremely humiliating the fact that pictures were taken and then threatened to be sent sustains this humiliation for the length of the existence of the pictures themselves.  One way in which it is seen that these pictures are very powerful is the fact that pictures were not released when a Freedom of Information Act suite was filled to view them because they claimed it would cause further public humiliation.  Reinhardt states that this shows that it is recognized that photographic representation can undermine the dignity of those pictured.  In turn Reinhardt discusses how these pictures can also be used for the benefit of the victim.  

Ali Shalal Qassi claimed to be the man pictured in one of the photographs that Reinhardt discusses and used this to his advantage to help promote his torture advocacy group and start somewhat of a career for himself.  It was later discovered that though Qassi had been humiliated at Abu Ghraib he was not the man pictured and just used this to his advantage.  This transformation of something meant to be used one way into being seen another way by a photograph is very similar to what was discussed about Captain John Walkers Slave Stealer brand on his hand which was photographed and used in the averse way it was meant to.

Next Reinhardt gets more into the discussion of aesthetics in these type of photographs.  He talks about James Natchweys photographs from Sudan.  Though these pictures are composed well and are very well made pictures Natchwey claims these were not meant to be aesthetic because he wanted to keep the downfall of aesthetics out of the way.  The downfall is to be viewing the pictures aesthetically rather then looking at these photos as something that needs to be prevented or helping us further see the problem.  Reinhardt discusses the failures within Natchweys pictures do to the fact that we see these people more as outcasts and this is all we will see them as due to the portrayal by Natchwey.

Reinhardt then discusses someone he felt achieved the balance of aesthetics within these types of images and that is Alfredo Jarr and his work called The Eyes of Gutete Emerita.  Reinhardt believes these images are successful for a couple reasons.  One being how the work is displayed the text for the images are timed longer than needed and the image itself is only a short flash.  The image itself does not directly show suffering but you can see this in the eyes of the subject.