Within this essay I will underline and explore the notion of terrorists as the ‘the contemporary other’; furthermore I will elaborate on what is meant by this terminology. The question I will be discussing is how the West has represented the ‘contemporary other’ through photography, and inquiring into the effects this has had on the way we shape, see and understand fundamentalists and, by implication, Islam. I will question how this has strengthened, or even given credit to, stereotypes that demonise the Islamic Faith.
Using John Tagg’s theory of the ‘double movement’ to display how photography can reinforce preconceptions and help to reinforce stereotypes. Furthermore, I will explore the ways in which multiple platforms have represented Islamist organisations, and what impact this may have had on the way in which we perceive those who follow Islamic beliefs, stating how this may be linked to increases in Islamophobia within the West.
Table of Contents
1. Framing the Contemporary Other
2. Photography and the reputation of the contemporary other
3. Conclusion
Objectives and Key Themes
This essay explores how photography has been utilized by Western media to represent Islamist organizations, examining how such visual narratives reinforce stereotypes, demonize the Islamic faith, and contribute to the rise of Islamophobia.
- The conceptualization of the "contemporary other" in Western discourse.
- The power of photography and its role in visual ideological construction.
- John Tagg’s theory of the "double movement" in analyzing media images.
- The comparative representation of Western soldiers versus insurgents.
- The link between media imagery and the reinforcement of societal Islamophobia.
Extract from the Book
Framing the Contemporary Other
‘The other’ is a complicated concept which has plagued academic and human history’s efforts to define it. We are able to create meaning and understanding in disenfranchising and creating oppositions, so that we create ‘the other’ through an understanding of the self. Kenaan describes this as so; are you not an ‘I’ (i.e. an individual) and I an ‘I’ simply for the fact that we are born into different circumstance, different geographical location, different financial situations and that we have thought that we may not always see eye to eye on. Therefore Kenaan forms the viewpoint that we are all ‘others’ to one-another in a sense, in Derrida’s terminology we are ‘other’ all together. Otherness is created through two key factors; the concept of the strange or (stranger) and difference. To summarise, you can describe ‘the other’ as a person or group of people that appear different from the self or the collective, which are often grouped into categories such as; class, sexuality, gender, race and religion. For instance, Weston society is often seen as culturally and politically different to Eastern societies, as each of governed differently and hold different cultural rituals.
Summary of Chapters
1. Framing the Contemporary Other: This chapter defines the theoretical concept of the "other" within Western thought, linking it to historical Imperialism and the creation of opposition between "us" and "them" to justify dominance and categorization.
2. Photography and the reputation of the contemporary other: This section utilizes semiotic analysis and John Tagg’s "double movement" to examine how news photography and war imagery manipulate the perception of Islam, specifically comparing visual depictions of terrorists to those of Western military personnel.
3. Conclusion: The final chapter synthesizes the arguments, asserting that photography is not inherently demonizing but becomes so through its framing and selective use within Western media, ultimately calling for a deeper understanding of the Islamic faith to counter ingrained stereotypes.
Keywords
Photography, Contemporary Other, Islamophobia, Stereotypes, Western Gaze, Representation, Orientalism, War on Terror, Media, Visual Semiotics, Identity, Ideology, Middle East, Conflict, John Tagg
Frequently Asked Questions
What is the core focus of this work?
The work investigates how photography is utilized in the West to represent Islamist organizations, specifically looking at how this imagery reinforces stereotypes and contributes to the demonization of the Islamic faith.
What are the central thematic areas?
The central themes include the sociological construction of "the other," the power of visual media in shaping political discourse, the legacy of Orientalism, and the relationship between photography and prejudice.
What is the primary research objective?
The objective is to question how Western photography has been used to create a "contemporary other," and to inquire into the resulting effects on how fundamentalism and Islam are understood by the public.
Which scientific methods are employed?
The author uses critical discourse analysis, post-colonial theoretical frameworks, and semiotic analysis, specifically applying John Tagg’s theory of the "double movement" to visual media content.
What topics are covered in the main section?
The main sections cover the definition of the "other," the historical roots of Orientalism, the role of photojournalism in conflict reporting, and a comparative analysis of how Western soldiers and Taliban insurgents are visually portrayed.
Which keywords characterize this study?
Key terms include Photography, Contemporary Other, Islamophobia, Stereotypes, Western Gaze, Representation, Orientalism, and Visual Semiotics.
How does the author define the "contemporary other" in the context of this paper?
The author contextualizes the "contemporary other" primarily as fundamentalist Islamist organizations that are perceived as a threat to Western values and safety, resulting in their segregation and negative categorization.
How does the author distinguish between the representation of US marines and the Taliban?
The author observes that while Western soldiers are often shown with pensive or emotional expressions that humanize their experience of war, insurgents are typically depicted as harsh, unyielding, and devoid of remorse, which reinforces the "good versus bad" dichotomy.
- Quote paper
- Sarah Casebury (Author), 2016, Displaying the Contemporary Other. How has Photography Been Used to Reinforce Stereotypes and Demonize the Islamic Faith during the Fight Against Terror?, Munich, GRIN Verlag, https://www.grin.com/document/345519
