by Marina Smolens
Thesis
Clear thesis within the first introductory paragraph: “While photojournalism may be exploitive, this exploitation is not always unethical and sometimes even necessary in creating an image that is both beautiful and impactful.”
Target Audience (who is the author reaching?):
The article is directed towards the general public to
inform people, especially those with a critical eye, of the truths and meaning
behind photojournalism.
It is up to us
to view the photos ethically (no idea if I used that right but it makes sense
to me).
-The viewers are a driving force behind this shift towards more aesthetic images, just as they are influential on the ethics of exploitation in photography. As long as we remain engaged observers who are willing to consider, reflect, and learn, then the ethics of a photograph are upheld. There will be endless debate about the morality of photojournalism…
Ethos (moves which make the author seem credible and knowledgeable i.e., sources/citations, grammar):
References to Tim O’Brien a well known author (also
wrote the novel The Things They Carried: extremely descriptive and well written
story about the Vietnam War 10/10 would recommend). This might also appeal to
some pathos with the quote/analysis that follows…
-Tim O’Brien’s “How to Tell a True War Story” explains the beauty that can be found amongst horror and violence and how the “truths” of a disaster are not always clear.
References to credible sources. “Code of Ethics” make
me believe the author has done research on the topic and knows about said Code
of Ethics. Considering this article is about ethics, this is very important
information.
-This is an important line between basic documentary photojournalism and more artistic photojournalism. Not only does the journalist want to construct photographs that reveal truths about important events to the public, as is the essential goal according to the NPPA (“Code of Ethics”), but he also wants to create an experience for the viewer, as most artists strive for when sharing their work.
Multiple
references to professional sources that make her argument more credible.
-Sebastião Salgado is a famous photojournalist who is well known for his photographs of migrants and refugees being “too beautiful” (Kimmelman). Therefore, it is possible for photojournalism to be considered aesthetic. A problem that arises with photojournalistic images being beautiful is the idea of “aestheticizing pain” (Anstead).
Pathos (emotion. Moves which generate human interest or emotional response…relatable examples, sad stories):
References to Tim O’Brien and quotes from his works. Evokes
a lot of emotion from me personally because I’ve read his works and get super
emotional about them.
-Tim O’Brien’s “How to Tell a True War Story” explains the beauty that can be found amongst horror and violence and how the “truths” of a disaster are not always clear.
-“The truths are contradictory. It can be argued, for instance, that war is grotesque. But in truth war is also beauty. For all its horror you can’t help but gape at the awful majesty of combat…”
The author
makes us feel a sense of responsibility with the following lines:
-The viewers are a driving force behind this shift towards more aesthetic images, just as they are influential on the ethics of exploitation in photography.
-There will be endless debate about the morality of photojournalism, but one thing is clear: no matter the manipulation, aestheticism, and exploitation, it is an image of real people and their realities, and viewers must always be mindful of that.
–The mere goal is to inform, but with Pellegrin’s photographs, he wants to produce an experience.
– People want their story to be told, and they want it to be told in a “unique” way. The beauty that photographers like Salgado and Pellegrin add to their images make the victims’ stories stand out. Is that not what they want? If we cannot help them, should we not at least acknowledge, and maybe even reflect and show compassion?
Logos (reason. Moves which connect points together logically, supported with relevant evidence):
Connect her points together with quotes and evidence
from other professional photojournalists and credible resources
-“Remembering is an ethical act, has ethical value in and of itself,” says Sontag, “That we are not totally transformed, that we can turn away, turn the page, switch the channel, does not impugn the ethical value of an assault by images.
Kairos (occasion. Relevance):
Explains relevance of media/photography in our
everyday lives. It’s not uncommon for us to come across photojournalism or
photographic art. It is important for us to know about what the meaning behind
these photographs are.
-Photography has revolutionized communication and the means by which we convey and share information. It has become very easy for anyone to take a photograph and share it with the world.
Supposedly the deeper meaning of raw photos are
becoming less and less impactful, so she argues that in order to keep them
relevant they need to be edited… what I’m trying to say is that today we need
to be able to understand the importance of images rather than look past them so
it makes this point relevant (this is a stretch).
-This is where photojournalism and photographic art overlap, and it is important that they do so, since, like Kimmelman said, images are starting to have less and less effect on people, and therefore, elements of beauty are essential to hold our attention.
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