The events of 9/11 shocked people all over the world and as a political consequence the ‘war on terror’ was established. A ‘public trauma’ emerged after the unexpected attacks because they made clear how near the unknown but also continuing threat of terrorism is. An extraordinary situation took place when people world wide felt shocked and directly targeted by the attacks.
The exploding demand on visual media which dealt with the issue was the expression of a new function in the wake of the events: Visual representation had to assume the responsibility of substituting for the essential act of ‘bearing witness’ to help the public with handling trauma and grief (Zelizer, 2002).
Fighting a war against an unknown enemy – ‘the terror’ or ‘the evil’ – was a historically unprecedented situation. People were frightened and many wanted to find somebody to blame for the attacks to feel safe again; the reaction of the government to attack Afghanistan found support although the justification for the attacks would be proven wrong later. But the dimension of cruelty of this war and in the American prison Abu Ghraib towards alleged terrorists caused another public shock after the limited imagery was published.
Together, these two events and their subsequent public traumas caused two very contrasting consecutive world wide moods towards the US government.
In retrospect the events are said to mark a change within visual representation, particularly the representation of trauma.
One of the main shifts in visual representation in the wake of these crises was that the focus moved towards the public. ”This was curious, for among photojournalists the idea of using images to draw from and upon the public rather than to depict the events being witnessed was antithetical to what good journalism is supposed to do” (Zelizer, 2002, p.48).
Table of Contents
1. A Critical Discussion of some of the Main Shifts That Have Occurred in Relation to Visual Representation in the Wake of the Events of 9/11 and the Subsequent ‘War on Terror’
Research Objectives and Themes
The academic work examines the transformative shifts in visual representation following the events of 9/11 and the subsequent "War on Terror." It investigates how media, journalism, and artistic practices evolved to process public trauma, the symbolic role of iconic imagery, and the political implications of how these crises were depicted to the global public.
- The evolution of visual journalism in response to national and global trauma.
- The function of imagery in "bearing witness" and managing public grief.
- The spectacularisation of horror and its role in political mobilization.
- The shift in the representation of death and the human body in contemporary media.
- The iconic status of recurring images (e.g., the burning towers, the "Hooded Man").
Excerpt from the Book
A Critical Discussion of some of the Main Shifts That Have Occurred in Relation to Visual Representation in the Wake of the Events of 9/11 and the Subsequent ‘War on Terror’
The events of 9/11 shocked people all over the world and as a political consequence the ‘war on terror’ was established. A ‘public trauma’ emerged after the unexpected attacks because they made clear how near the unknown but also continuing threat of terrorism is. An extraordinary situation took place when people world wide felt shocked and directly targeted by the attacks.
The exploding demand on visual media which dealt with the issue was the expression of a new function in the wake of the events: Visual representation had to assume the responsibility of substituting for the essential act of ‘bearing witness’ to help the public with handling trauma and grief (Zelizer, 2002).
Fighting a war against an unknown enemy – ‘the terror’ or ‘the evil’ – was a historically unprecedented situation. People were frightened and many wanted to find somebody to blame for the attacks to feel safe again; the reaction of the government to attack Afghanistan found support although the justification for the attacks would be proven wrong later. But the dimension of cruelty of this war and in the American prison Abu Ghraib towards alleged terrorists caused another public shock after the limited imagery was published.
Together, these two events and their subsequent public traumas caused two very contrasting consecutive world wide moods towards the US government.
In retrospect the events are said to mark a change within visual representation, particularly the representation of trauma.
Summary of Chapters
1. A Critical Discussion of some of the Main Shifts That Have Occurred in Relation to Visual Representation in the Wake of the Events of 9/11 and the Subsequent ‘War on Terror’: This chapter analyzes how visual media shifted its focus toward the public to mitigate collective trauma and how repetitive, iconic imagery was utilized to shape political support and define the perception of global conflicts.
Keywords
Visual Representation, 9/11, War on Terror, Public Trauma, Photojournalism, Bearing Witness, Abu Ghraib, Iconic Imagery, Spectacularisation, Media Theory, Political Communication, Visual Culture, Vulnerability, Trauma Representation, Symbolism.
Frequently Asked Questions
What is the fundamental focus of this research paper?
The paper explores the shifts in visual representation that emerged following the terrorist attacks of September 11 and the subsequent "War on Terror," focusing on how photography and media coverage shaped public perception and emotional response.
What are the central themes discussed in the work?
Key themes include the transformation of photojournalistic norms, the social function of witnessing trauma, the political use of "spectacularised" imagery, and the evolving representation of death and vulnerability in a globalized media landscape.
What is the primary objective of this academic study?
The primary objective is to critically analyze how visual media functioned as a coping mechanism for public trauma and as a tool for political narrative building during and after the 9/11 crises.
Which scientific or theoretical methods are employed?
The work employs a qualitative analysis of visual culture, drawing upon media theory and sociological frameworks—specifically the work of Barbie Zelizer and others—to interpret the changing role of journalism and imagery.
What core topics are addressed in the main body?
The main body covers the shift toward public-centric imagery, the lack of "newsworthiness" in recurring iconic photos, the comparison of 9/11 coverage to WWII-era reporting, and the impact of artistic responses to trauma.
Which keywords characterize the essence of the work?
The work is characterized by terms such as Visual Representation, Public Trauma, War on Terror, Iconic Imagery, and Political Mobilization.
How did the limited availability of footage after 9/11 affect media coverage?
Because there was so little footage immediately available, media outlets relied on "related imagery" and repetitive broadcasts, which turned the few existing visual sequences into iconic symbols of the tragedy.
Why did the "Hooded Man" image from Abu Ghraib become so significant?
The image became a condensation of the atrocities at the prison, eventually reaching an iconic status similar to corporate logos, which allowed it to be repurposed globally in political protests and cartoons.
What role did theatre performances play in processing 9/11 trauma?
Theatre performances incorporated the audience as an intrinsic part of the work, providing a space for individuals to engage with their personal trauma and respond to the events through interactive artistic experiences.
Why does the author argue that society's attitude toward death has changed?
The author highlights that while society often views death as a spectacle, the 9/11 attacks brought the threat of death into domestic spaces, creating an unprecedented sensitivity toward victim photography.
- Citar trabajo
- Sarah Doerfel (Autor), 2010, A Critical Discussion of some of the Main Shifts That Have Occurred in Relation to Visual Representation in the Wake of the Events of 9/11 and the Subsequent ‘War on Terror’, Múnich, GRIN Verlag, https://www.grin.com/document/208528
