Abstract:
This thesis explores the role of the photograph in exposing acts of violence or political trauma. There are numerous ethical and political dilemmas when it comes to making and looking at images of this nature. While the history of documentary rests on an assumption that the exposure of violence and war will lead to compassionate, active response, the events of the last century have proven this is not always the case. The development of what can be loosely termed ‗post modern‘ photography criticism has had a significant influence over the ways these issues are perceived. It has prescribed that images of political violence—of torture, mutilation, and death—are by their very nature exploitative, deceitful, war porn. Changes in the nature of warfare have also led to changes in the way photographs are made, distributed and received, promoting a growing concern with the way we experience other peoples suffering through these images. This thesis argues that if there is to be a productive role for the photography of trauma, alternative ways of both making and interpreting images must be explored. The work of Sebastião Salgado, James Nachtwey, Fazal Sheikh and Alfredo Jaar demonstrates that there is a range of alternative ways in which photography has attempted to respond to, and oppose the abuse of human rights. The work of these artists reorients the way we look at and interpret images of atrocities, which in turn may validate their representation. These artists bring a sensitivity and self-reflexivity to their work that reveals, through aestheticization, that image making can encourage new ways of seeing and engaging with ideas. The taking of, and examination of atrocity images can be an ethically and politically necessary act and if there is a hope to assuage political violence, viewers must learn to look again.
