The execution of politics: how one photo of a Viet Cong prisoner shaped the war
*Trigger warning: Violent image*
I came across this particular image during my own personal exploration into global politics following World War II, in an online article about American politicians. I was shocked after reading into the caption, to find that in this image the man is already dead, with the bullet either still passing through his head, or having just passed through it.
By capturing and conveying suffering through visual imagery, the photographer becomes a witness of death, but also a moral actor. Adams believed two people were killed in that instant, “the general killed the Viet Cong; I killed the general with my camera”6.
Mobilising Support for Social Action
Kleinman and Kleinman5 emphasise that visual representations of evil can be used to promote social action. Indeed this image slowly became an icon for American activism, and to this day serves as a reminder of the atrocities that arise from political conflicts. This photo was a “classic instance of the use of moral sentiment to mobilize support for social action”. A fellow Vietnam War photographer, David Hume Kennerly, put it this way: “I don’t know that it ended the Vietnam War, but it sure as hell didn’t help the cause for the government – one thing I know for sure, anybody who’s ever seen that photo has never forgotten it”.6
The image was used to give a glimpse into the reality for those enduring such brutality, and conveyed a powerful intimacy and desperate message to the people of the USA. It is still considered in the USA to be the “Photo That Changed the Course of the Vietnam War”1.
This image meant that the death of the Viet Cong prisoner would not go unremembered. As Astor says, “this last instant of his life would be immortalized on the front pages of newspapers nationwide”1. However Kleinman & Kleinman5 also discuss how the suffering depicted in an image can be taken advantage of, particularly in the way that it is distributed and consumed. As is stated in their article, the use of an image to ‘right an inhumane situation’ can be inhumane in itself.
The image of suffering above was used by the American anti-war effort to serve a purpose; as a tool in the process of stopping the Vietnam War, but at what cost? The image may have succeeded in saving many lives by cutting the war shorter, however, the insensitive use of the image was disastrous for some.
For the victim’s wife, Nguyen Thi Lop3, the image served a very different purpose than it’s anti-war role in the US. For her, the use of the image played the role of messenger: informing Nguyen of her husband’s death. In a clip years on, Nguyen is recorded saying in Vietnamese that “a friend of mine brought me the newspaper and then I found out what had happened to my husband”.
The reproduction of this image did not allow this widow the privacy or respect that she deserved. It shows lack of understanding, respect and permission required in the distribution of material. Furthermore we can argue that to share the intimate destruction of human life with such a level of triviality (as glancing past it in a newspaper) de-sensitizes, and reduces from the pain of the victim. Kleinman and Kleinman explain:
“Suffering ‘though at a distance,’ is routinely appropriated in American popular culture, which is a leading edge of global popular culture. The globalization of suffering is one of the more troubling signs of the cultural transformations of the current era: troubling because experience is being used as a commodity, and through this cultural representation of suffering, the experience is being remade, thinned out, and distorted”.5
One effect of this, they argue, is the erasure and distortion of the importance of social experiences of suffering. In this case, the image itself can not inherently convey the contextual political systems that produced it; its literal content is simply a violent act between two individuals. Yet re-contextualised as part of the anti-War effort, it did serve to highlight wider political contexts, such that the social response to the image led to not only condemnation of the violent act by that one soldier, but a change in public attitudes towards US involvement in Vietnam, and eventually a shift in political decisions by the US.
Visual depictions of suffering can be used to make us aware of the suffering experienced in other parts of the world. These visual depictions have the potential to be used as a tool to support social movements. However, the use of images does have its limitations and concerns, transforming the intimate suffering of real people into a tool. It is still up to debate whether this is an acceptable price for social change, and who gets to drive the production and circulation of such images, what they mean, and for what purpose.
- Astor, M. (2018, February 1). A Photo That Changed the Course of the Vietnam War. The New York Times. Retrieved from https://www.nytimes.com/2018/02/01/world/asia/vietnam-execution-photo.html
- Watson, A. M. (2015). PULITZER PRIZE PHOTOGRAPHY: SAIGON EXECUTION. Retrieved from http://www.newseum.org/2015/05/12/pulitzer-prize-photography-saigon-execution/
- VIETNAM: VIETNAM WAR ANNIVERSARY: MEDIA (2). (2000).. Retrieved from http://www.aparchive.com/metadata/youtube/3061fe038ddb4dece288d433331d7b91
- Adler, M. (2009). The Vietnam War, Through Eddie Adams’ Lens.All Things Considered. Retrieved from https://www.npr.org/2009/03/24/102112403/the-vietnam-war-through-eddie-adams-lens
- Kleinman, A. (1996) ‘The Appeal of experience; the dismay of images: cultural appropriations of suffering in our times’, Daedalus. American Academy of Arts & Sciences, 125(1), pp. 1–23. Available at: https://ezproxy.otago.ac.nz/login?url=http://www.jstor.org/stable/20027351. ISSN: 00115266
- Ruane, M. E. (2018, February 1). A grisly photo of a Saigon execution 50 years ago shocked the world and helped end the war. Washington Post. Washington Post. Retrieved from https://www.washingtonpost.com/news/retropolis/wp/2018/02/01/a-grisly-photo-of-a-saigon-execution-50-years-ago-shocked-the-world-and-helped-end-the-war/?noredirect=on&utm_term=.5374c97d4477
- Prescott, T. L. Appropriation and Representation. Image Journal, (97). Retrieved from https://imagejournal.org/article/appropriation-and-representation/
- Mitchell, R. (2018, March 31). A ‘Pearl Harbor in politics’: LBJ’s stunning decision not to seek reelection. Retrieved April 26, 2019, from https://www.washingtonpost.com/news/retropolis/wp/2018/03/31/a-pearl-harbor-in-politics-lbjs-stunning-decision-not-to-seek-reelection/?utm_term=.cdd2e6ec89aa
The Smell of Suffering: Portrait of a Street Boy
Written by Yi Li, for an assignment on ‘communicating, consuming, and commodifying evil and suffering’, in ANTH424
Street photographers visualise social suffering through their artwork. They engage (themselves and us) with unfamiliar experiences: shrinking cities, strange portraits. Photographers can function as both moralists and anthropologists. They are often spectators, often self-exiles – presenting a version of evil for others to interpret, but often also fulfilling their own sense of moral obligation.
My argument is that both the positionality of the street photographer, and the medium of the photograph, means that photos sometimes break free from the time and space, conveying a universalism of personal adversity. I use an example of street photography of homeless in Moscow to discuss this.
Down and Out
German photographer Miron Zownir is one of the most radical contemporary examples. His focus on marginal characters and the dark side of cities is rooted in his childhood. A Ukrainian-German who grew up in post-war Germany, Zownir as a teenager immersed himself in Eastern European literature without trusting any existing political systems or social stereotypes. His inherent interest in individualists inspired him to live in slum-like places, capturing streets with an anti-establishment attitude.
The street portrait is from Miron Zownir’s publication Down and Out in Moscow, a series of images that captured the homeless crisis in the Russian capital in 1995, after the collapse of the Soviet Union in 1991.
I noticed the smoking boy with an adult expression to his cynical appearance when I first came across it in 2018. It is somehow different from the other challenging photos in his book. Momentarily, the encounter between Miron Zownir and the boy constructed a story about how individuals were abandoned by society. The diffusing cigarette smoke in front of the boy seems to allow me to smell the evil that permeated the city.
Kleinman & Kleinman (1996)[i] discuss the moral implications of photographs, through contextualising engagements within creators, audiences and images.
Zownir’s photographic experience runs through the technical transition: turning from black-and-white film to digital photography in the post-modern era. This photo was captured in a classic form, of black and white portraiture displayed in gallery spaces, and print journalism (books, and magazines). But it is worth noting that the extended agency of photographs can shift, depending on medium, from a momentary, regional realm to a worldwide standing discussion, through different forms of reprinting and representing.
How different would the viewers experience of this boy’s suffering be, scrolling past a small version in a social media feed? Touching his face on a tablet?
Moral Obligation in Street Photography: Unperceived Suffering as Social Experience
Anthropologists may ask: what is the basis of a photographer’s sense of moral obligation to take photos on streets?
Street photography concentrates on people and their behaviour in public, thereby also recording personal history: though without formal consent, and with the combination of spontaneity, outsider perspective, and private exploration. These subjects of circumstances are generally unaware – either stared at or ignored until they were documented. Street photography uses these collected narratives to define cultures or places, with no duty to serve a larger whole, and no limitation on how they reconstruct these places[ii].
Kleinman & Kleinman considered that photographers represent individual suffering as part of social experience, for others to access – whether these are extreme or ordinary forms of suffering. But as anthropologists, they caution that “there is no timeless or spaceless universal shape to suffering,” (1996, p:2).
In Down and Out in Moscow, Miron Zownir photographed death, sin, and a harsh lived reality. Underlying the powerless state, the rampantly violent proliferation pushed Moscow to become a hotbed of criminal forces in the 1990s; “the most aggressive and dangerous city, … people were dying right there on the street”.[iii] Such tension immediately changed Zownir’s original mission: to document Moscow’s nightlife with three-month project funding from a photographic committee.
Suffering is one of the existential grounds of human experience, and Kleinman & Kleinman suggest that moral witnessing also must involve a sensitivity to others, albeit with unspoken moral and political assumptions. Still functioning as a photographer, Zownir did not tend to query the government, or alter Moscow residents’ condition – but instead chose to live briefly in this shadowed twilight zone, to experience the nightmare.
Individual into the Universal: Reflexive Appreciation against the Silent Oblivion
How can we perceive a stranger’s suffering as universal? Here, a street boy’s sophisticated body language is beyond verbal expressions: dressing in a suit over a horizontal striped turtleneck sweater, his hands are hidden in his pants pockets like a social youth. He looks indifferent to the surroundings and unmoved by the photographer. He is clothed, unlike many beggars, and yet he was banished to a community where no-one had a home.
This portrait reminded me of the 1994 film In the Heat of the Sun. The film is based on Chinese writer Wang Shuo’s novel Wild Beast, which is set in Beijing during the Cultural Revolution, and tells how a teenage boy and his friends are free to roam the streets day and night in a period in which all the social and educational systems are extremely non-functional. Both protagonists are undergoing suffering – the film an example of the way their individual experiences can be abstracted and universalised, for the consumption of a wide variety of audiences. Yet this this also shows us how images and films can provide an insight into personal suffering that is usually invisible – although the harsh realities behind the lives they represent often go on unchanged.
The unwitting suffering of Zownir’s street boy is entangled with the political unrest in Moscow. But as a photograph, it also exists apart from the historical context: “a professional transformation of social life […] a constructed form that ironically naturalised experience.”[iv]
The frame itself cannot communicate this context. Yet it can communicate something else – the universality of human feeling event amidst diverse and ethically incommensurable [v] societies. Perhaps this is the power of portraiture – indeed the seminal psychological research of Ekman, and others, has asserted that emotional expression on faces is universal [vi] – meaning that moods and feelings may at times transcend cultural limitations, an idea often grappled with in the anthropology of emotion.
Conclusion: photography as a container of truth and imagination
Miron Zownir wrote in his poetry: When the earth returns with a thousand sunsets, the truth of the universal is darkness.[vii]
Photography blurs social facts, but seals emotions. Whether the boy would recognise the chaos, ignorance and madness that Zownir’s book communicates, in his free childhood in post-collapse Moscow, cannot be known. Yet seeing this photo as a cultural artefact, we can recognise that both the photographer and the audience as complicit in reproducing and politicising fragmented histories in photography. The photograph becomes a container for these forms of imagination.
Several years later after this photo was taken, when Miron Zownir was back in Moscow for his upcoming exhibition, the city’s exterior had been cleaned up. The silent responses of audiences standing in front of an enlarged version of this photograph, seemed at a vast remove from its original context. What meaning, what comfort, did it hold then? Yet the world still calls for images, as ‘the mixture of moral failures and global commerce is here to stay’ (Kleinman & Kleinman 1996: p. 7).
[i] Kleinman, A. & Kleinman, J. (1996) ‘The Appeal of experience; the dismay of images: cultural appropriations of suffering in our times’, Daedalus. American Academy of Arts & Sciences, 125(1), pp. 1-23.
[ii] Levy, S. (2019) ‘Street photography as a process’ in Lens Culture Guide to Street Photography, pp. 8-12
[iii] Zownir, M. (2014) ‘I was always an individualist’, Berlin Interviews, by Katerina, http://berlininterviews.com/?p=1375.
[iv] Kleinman, A. & Kleinman, J. (1996) ‘The Appeal of experience; the dismay of images: cultural appropriations of suffering in our times’, Daedalus. American Academy of Arts & Sciences, 125(1), pp. 1-23.
[v] Fassin, D. (2009) ‘Beyond good and evil?: Questioning the anthropological discomfort with morals.’, Anthropological Theory. Sage, 8(4), pp. 333–344.
[vi] Ekman P, Friesen W (1976). Pictures of Facial Affect. Consulting Psychologists Press : Palo Alto.
[vii] Zownir, M. (2018) ‘Black’, Vision