Schock am Montag (I): Der Spiegel & The Barbarian Arabs

2011 June 6

The current Spiegel Geschichte, Der Spiegel’s bi-monthly history special, is all about “Caliphs, War, and Struggle for Freedom”. And it has a cover of the worst kind: orientalist, chauvinist, and most of all depicting Arabs as barbaric and chaotic. It makes me want to choke.

Linda Steet, in her excellent book “Vails and Daggers, wrote that “What signifies the best of the Arab world, as we have so often seen, was the period of the Arabian Nights and what conjured up within Orientalism.” The fairy tales of Thousand and One Nights draw the positive image of the Arab: romantic and beautiful women, depicted in the Spiegel Geschichte cover as a magnificent arch and young women. Everything else about the Arab world is -in the White Christian Male (WCM) depiction which Der Spiegel follows- barbaric and reactionary, well summarized in one of the article’s title: “The Muslim is not modern.” Consequently, the cover is full of a dark collage of slaughter, veiled women, yelling, revolution – and even a flying axe. As if there is nothing bright, nice, and postive to say about Arabs.

The particular dangerous about this (and similar) illustrations is their claim to be objective and scientific. Der Spiegel Geschichte is published by a respected (though notorious) publisher and creates credibilty by (pop-)scientific self-conception and the prominent placement of a story about “What Europe learned of the Arabs” on the front page. I haven’t read most of the articles in the magazine but I am honestly not motivated to spend time with gibberish teased with “The French wanted to turn Arabs and Berbers into “Modern Humans”.” (about the Algerian War of Independence), “League of the Lame” (about the Arab League), “a World Going To Pieces: Backward Orientated, Divided, Suppressed – for Centuries the Arab Countries are lagging.” (about the Arab Spring).

The magazine’s cover collage says it all; this publication is yet another example for the visual language that sub-consciously reconfirms negative stereo-types about Muslims and Arabs in the West. ‘Slaughtering with axes, veiling and suppressing women – The Arab can’t be anything but a primitive’ is the unequivocal message this illustration conveys. It is yet another brick for the construction of the WCM-world view in continuously-colonial, chauvinistic tradition. Thank you Spiegel-Geschichte Team. I ward you the first Schock am Montag award for your sincere efforts in promoting the clash of culture.

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Critique: The Power of Black (WPP)

2011 February 11

James Estrin wrote the other day:

I have always thought that photojournalism contests lead to bad photography. They encourage young photographers to make images like the ones that won in previous years instead of pursuing their personal vision. Shooting black and white with a 24-millimeter lens at f/1.4, and overprocessing the result, does not automatically make a great image. Following your own passions is more likely to lead to important photographs.

He is so right. (And I don’t say that because James and I share own personal disappointment at the World Press Photo awards.) But this years World Press Photo Awards sadly proof the point made. Guillem Valle won the 3rd prize portraits (single) with this photograph from Sudan:

It is wide-angle, it has a shallow depth of field – and it is black and white. A winner!

However, it happens that Mr. Valle’s Agency Fotogloria has the colour version of the same photograph on offer:

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My Favourite Photograph (I): Robert Frank’s Americans

2011 January 15
Robert Frank: Americans, San Francisco, 1956

(c) Robert Frank: Americans, Steidl, 2008

For me, Americans 72 is the greatest of all of Frank’s pictures.
All of the photograph, the total of its meaning and its power is caught in the sceptical, even almost aggressive look of the couple into the camera. You can literally feel the racial conflict of the America of the time. Such a tension, so well caught by Frank. It is such a misconception that looks towards the photographer weaken pictures and this photograph is the final proof.

The rule of mainstream photography is that subjects should look «natural» and that the photographer should be «invisible» – «candid» is what good pictures have to be, so they say. Instead, I say, photographers should be honest and reference the relationship between themselves (mostly white Christian males) and their subjects (more often than not members of a different class, race, or culture). Only in some but mostly strong cases, it is exactly the awareness of the subject of the photographer that makes the photograph. Robert Frank’s Photograph from San Francisco is a great example.

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