war photography | geographical imaginations

News from Verso of a forthcoming book (originally announced for Aprl, but now not due until next year) by the multi-talented Julian Stallabrass, Killing for Show:

A history of war photography – from Vietnam to Iraq and the War of Terror – and how photography has changed war.

Today we watch wars from afar, swayed by the images that fill our newsfeeds, social media and screens. Since the Vietnam War the way we see conflict through film, photographs, and pixels, has had a powerful impact on the political fortunes of the campaign, and the way that war has been conducted. In this fully-illustrated and passionately argued account of war imagery, Julian Stallabrass tells the story of post-war conflict, how it was recorded, and remembered through its iconic photography.

The relationship between war and photograph is constantly in transition, forming new perspectives, provoking new challenges: what is allowed to be seen? How are photographs remembered? Does an image has the power to change political opinion? What influence market economics has upon the way we consume visual media, especially images of war. How new forms of distribution change the image’s potency. Stallabrass shows how photographs have become a vital weapon in the modern war: as propaganda – from close quarter fighting to the drone’s electronic vision – as well as a witness to the barbarity of events such as the My Lai massacre, the violent suppression of insurgent Fallujah or the atrocities in Abu Ghraib. Changes in technology – from shutter speed, use of colour stock, and methods of digital distribution – have also transformed the way photography is used in depicting and even waging accelerated warfare.

Through these accounts Stallabrass maps a comprehensive theoretical re-evaluation of the relationship between war, politics and visual culture. Killing for Show is an essential volume in the history of photography.

A mammoth 688 pages, packed with images – and, since it’s Verso, astonishingly reasonable priced.

I’m still working on the mass murder in slow motion that is Ghouta; there’s so much to see, say and do that my promised post has been delayed. Most readers will know of the stark declaration issued by UNICEF last month:

It was accompanied by this explanatory footnote:

We no longer have the words to describe children’s suffering and our outrage. Do those inflicting the suffering still have words to justify their barbaric acts?

One of Allan Pred‘s favourite quotations from Walter Benjamin was this: ‘I have nothing to say. Only to show.’ And perhaps the broken, mangled shards of montage are the most appropriate way to convey the collision of medieval and later modern violence that is sowing Syria’s killing fields with so many injured, dying and dead bodies.

You might think it’s always been so: in 1924 Ernst Friedrich introduced his collection of war photographs by insisting that ‘in the present and in the future, all the treasure of words is not enough to paint correctly the infamous carnage.’

These are suggestive claims, but two riders are necessary. First, images have such an extraordinary, if often insidious, subliminal power – even in our own, image-saturated culture – that they demand careful, critical interrogation and deployment. They don’t speak for themselves. And second, Benjamin described his method as ‘literary montage’: as Allan knew very well, words do not beat a silent retreat in the face of the image, and it’s in concert that the two produce some of their most exacting effects.

In the course of my work on war in Syria and elsewhere I’ve encountered (and drawn upon) the work of many outstanding photographers; in some cases their images seem out-of-time, almost transcendent testimony to the enduring realities of war, while others disclose new horrors erupting in the midst of the all-too-bloody-familiar. I think, for example, of the work of Narciso Contreras (see above and below, and also here and his collection, Syria’s War: a journal of pain, War Photo, 2014) – and I do know about the controversy over editing/cropping – or Nish Nalbandian (see also here and here and his book, A whole world blind: war and life in northern Syria, Daylight Books, 2016).

In my research on other conflicts I’ve also learned a lot from war artists, and in the case of Syria from graphic journalism: see, for example, the discussion by Nathalie Rosa Bucher here and the example of Molly Crabapple here. (Her work was based on cell-phone videos sent to her by a source inside IS-controlled Raqqa: another digital breach of siege warfare in Syria).

The point of all of this is to emphasise my debt to multiple (in this case, visual) sources that enable me – sometimes force me – to see things differently: to turn those broken shards around, to have them catch the light and illuminate the situation anew. And to see things I’d often rather not see.

It’s not a new experience. When I was completing The colonial present I was given access to a major image library, and in the course of three exhilarating days I learned more about Afghanistan, Palestine and Iraq than I had learned in three months of reading. The image bank included not only published but also unpublished images, which revealed aspects, dimensions, whole stories that had been left unremarked and unrecorded in the public record produced through editorial selection.

For my present work the Syrian Archive is invaluable:

The Syrian Archive is a Syrian-led and initiated collective of human rights activists dedicated to curating visual documentation relating to human rights violations and other crimes committed by all sides during the conflict in Syria with the goal of creating an evidence-based tool for reporting, advocacy and accountability purposes.

Its emphasis on visual documentation and analysis needs to be seen alongside the investigations of Forensic Architecture and bellingcat.

The Syrian Archive aims to support human rights investigators, advocates, media reporters, and journalists in their efforts to document human rights violations in Syria and worldwide through developing new open source tools as well as providing a transparent and replicable methodology for collecting, preserving, verifying and investigating visual documentation in conflict areas.

We believe that visual documentation of human rights violations that is transparent, detailed, and reliable are critical towards providing accountability and can positively contribute to post-conflict reconstruction and stability. Such documentation can humanise victims, reduce the space for dispute over numbers killed, help societies understand the true human costs of war, and support truth and reconciliation efforts.

Visual documentation is also valuable during conflict as it can feed into:

Humanitarian response planning by helping to identify areas of risk and need as well as contribute to the protection of civilians;

Mechanisms that support increased legal compliance by conflict parties and reductions in civilian harm;

Strengthening advocacy campaigns and legal accountability through building verified sets of materials documenting human rights violations in the Syrian conflict.

User-generated content is valuable during times of conflict. Verified visual documentation can feed into humanitarian response planning by helping to identify areas of risk and need as well as contributing to the protection of civilians.

Furthermore, visual documentation allows the Syrian Archive to tell untold stories through amplifying the voices of witnesses, victims and others who risked their lives to capture and document human rights violations in Syria. Not every incident in the Syrian conflict has been reported by journalists. The very challenging conditions have made it extremely difficult for local and especially international media to work in Syria, meaning the many incidents have been missed or under-reported.

Visual documentation aims to strengthen political campaigns of human rights advocates by providing content that supports their campaign. This could include content on the violation of children’s rights; sexual and gender based violence; violations against specifically protected persons and objects, or the use of illegal weapons.

Additionally, visual documentation aims to help human rights activists and Syrian citizens in setting up a memorialisation process and to create dialogues around issues related to peace and justice, to recognise and substantiate the suffering of citizens and provide multiple perspectives on the conflict that acts to prevent revisionist or simplified narratives while raising awareness of the situation in the country and highlighting the futility of violence to next generations. Video and images often compliments official narratives and press accounts of an event or situation, adding both detail and nuance. At other times, they directly rebut certain factual claims and contradict pervasive narratives.

Many of the videos on which this visual analysis relies (me too) were uploaded to YouTube. Armin Rosen reports:

Google, which is YouTube’s parent company, knows how significant its platform has been during the war. “The Syrian civil war is in many ways the first YouTube conflict in the same way that Vietnam was the first television conflict,” Justin Kosslyn, the product manager for Jigsaw, formerly called Google Ideas, said during an interview on the sidelines of September’s Oslo Freedom Forum in New York, where Kosslyn had just spoken. “You have more hours of footage of the Syrian civil war on YouTube then there actually are hours of the war in real life.” In 2016, Jigsaw developed Montage, a Google Docs-like application that allows for collaborative analysis of online videos. Kosslyn said the project was undertaken with human rights-related investigations in mind.

The value of YouTube’s Syria videos is indisputable, especially since the regime and other armed actors have closed off much of the country to journalists and human rights observers. [Eliot] Higgins and his colleagues [at Bellingcat] proved beyond all doubt that Assad’s forces gassed a suburb of Damascus in August 2013, and a U.N. organization is now in the early stages of assessing YouTube’s Syria footage for its future use in war crimes trials. In December 2016, the U.N. General Assembly voted to establish the International Impartial and Independent Mechanism (IIIM) to assist in war crimes prosecutions related to Syria. In connection with the IIIM, Hiatt and his team at Benetech are developing software that can search and organize the estimated 4 million videos related to the conflict. The IIIM will facilitate the use of the videos in court if alleged human rights abusers ever face trial.

Last summer YouTube started deleting videos that violated its Terms of Service; the platform used algorithms to flag the offending materials and within days some 900 Syria-related channels were removed.

Alarm bells rang; here’s Chris Woods of Airwars talking to the New York Times:

“When the conflict in Syria started, independent media broke down and Syrians themselves have taken to YouTube to post news of the conflict… What’s disappearing in front of our eyes is the history of this terrible war.”

And Eliot Higgins (on YouTube!):

After the concerted protests many of the videos were restored, but the cull continued and by the end of the year more than 200 channels providing over 400,000 videos had been removed. Again, some of those were subsequently restored, but the Syrian Archive estimates that more than 200,000 videos are still offline.

The intervention was the product of an understandable desire to remove ‘propaganda’ videos – part of the fight back against ‘fake news’ – but here’s the rub:

Videos from the conflict could prove critical in cases where they might violate the site’s ToS—even ISIS propaganda videos help identify members of the organization and explain its internal hierarchies. “The difficulty in this type of work is that the information put out there on social media by the perpetrators of the violence can also be used to hold those perpetrators accountable,” Shabnam Mojtahedi [a legal analyst with the Syria Justice and Accountability Center: see also here for its statement on this issue] notes.

And it’s not just YouTube. In an extended report for The Intercept Avi Asher Schapiro detected

a pattern that’s causing a quiet panic among human rights groups and war crimes investigators. Social media companies can, and do, remove content with little regard for its evidentiary value. First-hand accounts of extrajudicial killings, ethnic cleansing, and the targeting of civilians by armies can disappear with little warning, sometimes before investigators notice. When groups do realize potential evidence has been erased, recovering it can be a kafkaesque ordeal. Facing a variety of pressures — to safeguard user privacy, neuter extremist propaganda, curb harassment and, most recently, combat the spread of so-called fake news — social media companies have over and over again chosen to ignore, and, at times, disrupt the work of human rights groups scrambling to build cases against war criminals.

“It’s something that keeps me awake at night,” says Julian Nicholls, a senior trial lawyer at the International Criminal Court, where he’s responsible for prosecuting cases against war criminals, “the idea that there’s a video or photo out there that I could use, but before we identify it or preserve it, it disappears.”

As Christoph Koettl, a senior analyst with Amnesty International and a founder of Citizen Evidence Lab put it, these social media platforms are ‘essentially privately-owned evidence lockers’. And that should worry all of us.