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List of Illustrations vii Contributors xii Introduction: The Violence of the Image - Liam Kennedy and Caitlin Patrick 1 Part I: Framing Civil and (Post-)Colonial Conflict 7 1 The Incorruptible Kodak: Photography, Human Rights and the Congo Campaign - Christina Twomey 9 2 'Follow the Americans': Philip Jones Griffiths's Vietnam War Trilogy - Liam Kennedy 34 3 The Violence of the Image: Conflict and Post-Conflict Photography in Northern Ireland - Justin Carville 60 4 Dispelling the Myth of Invisibility: Photography and the Algerian Civil War - Joseph McGonagle 78 Part II: Politics and Photographic Ethics at the Turn of the Twentieth Century 95 5 The Myth of Compassion Fatigue - David Campbell 97 6 Infra-Destructure - Ariella Azoulay 125 7 Watching War Evolve: Photojournalism and New Forms of Violence - Robert Hariman 139 Part III: The 'Unstable' Image: Photography as Evidence and Ambivalence 165 8 Photo-Reportage of the Libyan Conflict - Stuart Allan 167 vi THE VIOLENCE OF THE IMAGE 9 Witnessing Precarity: Photojournalism, Women's/Human/ Rights and the War in Afghanistan - Wendy Kozol 193 10 The Forensic Turn: Bearing Witness and the 'Thingness' of the Photograph - Paul Lowe 211 11 Ruins and Traces: Exhibiting Conflict in Guy Tillim's Leopold and Mobutu - Caitlin Patrick 235 Select Bibliography 256 Index 274
Liam Kennedy is Professor of American Studies and Director of the Clinton Institute for American Studies at University College Dublin. He is the author of Susan Sontag: Mind as Passion (1995) and Race and Urban Space in American Culture (2000), and editor of Urban Space and Representation (1999), The Visual Culture of Urban Regeneration (2004), and The Wire: Race, Class and Genre (2012). Caitlin Patrick was Postdoctoral Fellow for the Photography and International Conflict project at University College Dublin from 2008-2011 and she is currently a Research Associate for Bournemouth University on a joint project entitled I-Witnessing: Global Crisis Reporting Through the Amateur Lens.
'Kennedy and Patrick have brought together an important group of contemporary historians and critics from a wide array of disciplines to animate discussion of the future of photojournalism as it relates to continuing currents of conflict. This book makes an important contribution to a new and emerging conversation about the continuing impact of photography on life in late modern society.' John Louis Lucaites, Professor of Rhetoric and Public Culture, Indiana University