What it means for outsiders to cover war and tragedy in Africa
A reporter visits South Africa along with a copy of 'The Bang-Bang Club,' a book by war photographers that was recently turned into a movie, and contemplates the difference between covering conflict and living through it.
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Another morning I was compelled to ask my taxi driver if he had heard of the book or the photographers. He had not, though he said that he had heard on the radio about a South African photographer who was being held in Libya, and knew of the dangers associated with such reporting.Skip to next paragraph
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I turned to a page to show him the late Kevin Carter's haunting, Pulitzer Prize-winning photo of a vulture eyeing a starving child in Southern Sudan in 1993. To many outsiders, this is the iconic and defining image of a war that claimed at least 2 million lives, many of them through starvation and disease. He had not seen the photo but had heard of the civil war in Africa's largest country.
“The Bang-Bang Club” struggles with the questions that haunt many journalists working in places where conflict is commonplace: "the Sin of Looking" (and not helping); the guilt and sometimes the seeming impotence to positively affect events swirling around oneself; and what to do with the terrible mental images seared into one's mind.
A reporter has a relatively privileged position, which enables us not only to rush up to a government minister and demand answers to inquiries, but also to go into a volatile situation with the aim of documenting it whether the participants like it or not. And Mr. Marinovich and Mr. Silva write about the ensuing dangers this position can incur: Silva lost both legs last year in Afghanistan while on assignment.
For the people who live these experiences in their own countries, though, I wonder what they think of us strange beasts: we who tote voice recorders and notebooks, who go everywhere with our expensive cameras and equipment slung akimbo, and who often dress scruffily and inappropriately for such events as the inauguration of a president or a parliament hearing.
After all, what should they think, that we are somehow improving the lives of people by peering at them from a distance and portraying them as we see fit? I've had to accept that whether I like it or not, the connection between reporting on events and influencing their outcome is by no means direct; after all, a key aspect of journalism to attempt to report the "truth" without fear or favor.
Marinovich and Silva put it well near the end of their book: "We wanted to regain the joy we used to get from photography, as well as a full enjoyment from the ordinary things in life – something that had been impaired over the last years. It was time to put things in perspective: we had not personally suffered like some of the people we photographed, but neither were we responsible for their suffering – we had just witnessed it."
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