by Dahlia Lithwick, Masua Sagiv
he casual verbal slippage between war photojournalism and crime scene photography is manifest in another simple trick: In announcing the AP’s win, the award organizers reposted the unblurred image of Louk on their Instagram page but neglected to include her name. Her name did, however, appear in the prize announcement on the award website, in which the chosen caption says it all:
Heavy Israeli airstrikes on the enclave has killed thousands of Palestinians. Palestinian militants drive back to the Gaza Strip with the body of Shani Louk, a German-Israeli dual citizen, during their cross-border attack on Israel, Saturday, Oct. 7, 2023.
That caption reorders the sequence of events, as if the subsequent bombing of Gaza were the cause of the cross-border attack. In this telling, these militants found themselves with a half-naked female “body” in the bed of their truck in some accident of war. It distorts the fact that Louk was murdered during a cease-fire and her corpse taken as bounty. Deliberately conflating Hamas’ sexual violence, kidnappings, and burning of women and children with acts of combat gives away the game from the start. However you opt to perceive it, an atmosphere that celebrates this image sets back decades of international legal advances recognizing the dignity and rights of women.
Perhaps the photo merits an award by sensitively capturing the plight of the victims of Oct. 7? That was the line the AP’s vice president of corporate communications, Lauren Easton, gave following international outrage about the prize. “Documenting breaking news events around the world—no matter how horrific—is our job,” she said. “Without AP and other news organizations, the world would not have known what was happening on Oct. 7.” But that is also untrue. In this case, the perpetrators filmed their own acts in viral videos captured on GoPros and livestreamed them to the world, screaming “Allahu Akbar!” (“God is great!”) and driving through the streets. In other instances such footage was shared with the victims’ families using the victims’ own phones. One could well ask whether we should consider a journalistic image of one of the most photographed violent pogroms in modern history to constitute essential newsgathering or whether we should instead regard it as prurient rubbernecking. Yet the Donald W. Reynolds Journalism Institute saw fit to reward the impulse with a prize.
Images of war can be aimed at producing empathy for the victim or anger and disgust toward the perpetrators (or both). Indeed, most of the photos that garnered this prestigious prize do just that. This photograph does neither. The victim, Louk, is an object, almost illegible as a person, reduced by her captors to a trophy. The perpetrators delight in that fact. Most remarkable about the picture is the extent to which it manages to simultaneously deny the crime and celebrate it. On its face, the photo and the caption accompanying it evince no interest at all in how she came to be a “body,” instead observing the time-honored adage invoked whenever a female victim is involved: “She deserved it.”
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que as mentiras
que tua mente te
contar quando
teu peito se faz
triste e inquietante
não te consumas.
adrielly.
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