Alfredo Jaar’s photograph ‘A Hundred Times Nguyen’ 1994 explores the spectacle of ‘compassion fatigue’ and was created due to the vast incarceration of Vietnamese refugees in Hong Kong in 1991 (Jaar, press release, 2017-2018). ‘A Hundred Times Nguyen’ leaves a mark on the memory of the viewer due to its simplicity and stark nature. Jaar (1994) took these four portraits - between 5 second intervals- of a young girl; Nguyen Thi Thuy, age unknown. The young girl’s face has a sweet yet wary expression on it, with her beautiful black shiny sweeping hair covering part of her delicate skin, captivating the viewers with her intense stare, generating the feeling that she is looking right at you, telling you her story through her eyes. The hope and possibility that radiates …show more content…
The four photographs of Nguyen are a part of a 100-piece series, (which included frames, a book and a constant rolling video) this series was created in order to convey the grand scale of the injustice that was taking place in Hong Kong. Jaar entitled the photographs A, B, C and D and then proceeded to put them into 24 possible arrangements. The repetition of the four photographs across a 100-piece scale challenges the natural instinct to view a photograph for a couple of minutes and then move on to the next as we are forced to engage with the same four photographs over and over again, therefore creating a zoetrope effect experienced by the viewer. This encourages individuals in society to become fully immersed in Nguyen’s fascinating expression, standing in the place of many equally troubled migrants from Vietnam. His photograph of Nguyen pleads that individuals remember the appalling situation herself and others were exposed to, thus achieving sympathy as prayers are said for
Firstly, in the poems, “Saigon is Gone”, and “Last Respects”, Lai says, “...he [Southern Vietnam pilot] adds what no one wants to hear: It’s over; Saigon is gone… One woman tries to throw herself overboard, screaming that without a country she cannot live. As they wrestle her down, a man stabs his heart with a toothbrush” (Lai, 69; 85). This shows that while all the refugees who heard the Southern Vietnamese pilot were deeply upset by the news that they’d lost everything they’d left behind, including Hà, others couldn’t handle the sorrow they felt by knowing this, trying to end their pain by killing themselves. Hà’s situation is not exclusive to just her, but to most refugees in general.
These photos tell the gruesome truth of the Armenian genocide, they demonstrate the suffering the Armenians went through, the starvation clear by the malnourished bodies and also show the significant number of the dead, as proof of the genocide. The photos also show the innocence of children during the genocide, as they watch on horrible scenes of the dead or other dying children. This furthermore proves of the attempt at genocide, as there is no discriminating or reluctance; men, women and children were all
For the duration of his essay “The Stranger in the Photo is Me”, Pulitzer Prize-winning journalist and professor Donald M. Murray depicts his train of thought while flipping through an old family photo album. While describing his experience, Murray carries the reader through the story of his childhood, describing snapshots of some of his favorite memories growing up. Throughout the piece, he shifts back and forth between a family oriented, humorous tone and a nostalgic, regretful one and by doing so, he parallels the true experience of looking through a family photo album. Murray expresses a more serious tone while reflecting on a certain photograph of him in uniform from the beginning of World War II and goes on to explain how in his opinion,
This shot shows a vulnerable Mrs. Robinson, whose “dissatisfaction with life can be linked to her passionless marriage” (Wyllie 3). The innovative use of the telephoto lens is another cinematic technique utilized by Nichols and Surtees to stress the theme of entrapment.
The story starts from their trip on the train, ends in the reunite with her sisters. In the story, the photograph runs through the text, and each time it presents differently in every setting. Amy Tan uses photos as a metaphor for connections or identification in the story. The first time of photo appeals is at the beginning of the story, the twins “kept a framed picture of their mother”
The Pulitzer Prize winning photo entitled “Burst of Joy” became the classic homecoming photograph of the Vietnam Era, but was it truly a happy homecoming? The photo neglects to portray the pain and suffering that this family was experiencing. Although the family was very happy to be reunited, there are crucial details to this story that were not addressed in the media. “On an overcast day in March 1973, Associated Press photographer Slava “Sal” Veder captured an image of a POW being greeted by his family.” The Vietnam War concluded with the Paris Peace Accords on January 27th 1973.
Henri Huet, a famous war photographer known for his work in Vietnam War captured a proportionally excellent and appealing photograph during a horrendous operation to illustrate the same blurriness between ugliness and beauty. Both the novel by Tim O’Brien and the photograph by Henri Huet elucidate that besides war’s savage environment, there are also scenes in the nature’s beauty that appeal to eye and look “beautiful ” The photograph named “Vietnam War Paratroopers Rain” by Henri Huet captures a platoon of soldiers who are carrying their weapons above their heads as they are crossing a river during a rainy weather. The rain adds a blurry effect to the photograph that helps to create the illusion of beauty.
One of the recurring themes of Anne Fadiman’s novel The Spirit Catches You and You Fall Down is the cultural unawareness that is present, not only the American perspective, but the Hmong perspective as well. This is evident in the recountment of a Hmong American that returns to visit Ban Vinai, a refugee camp in Thailand, after establishing herself in the United States. Most of the book is written with a focus on the Western doctors lacking understanding of Hmong language, customs and culture which in turn made it difficult for them to treat patients such as Lia. They struggled to explain procedures, while practical to them, appeared harmful and life-threating to the Hmong.
You’ll be calling them childlike next,” to which Pyle awkwardly agrees, “Well—in a way” (Greene 168). Pyle truly believes that the Vietnamese people are inferior and need protection against what he perceives to be the dangers of a totalitarian communist regime. Pyle dismisses Vietnamese society as unimportant despite a limited knowledge of it, while Fowler instead correctly
“Love and Honor and Pity and Pride and Compassion and Sacrifice” Nam Le’s “Love and Honor and Pity and Pride and Compassion and Sacrifice” is categorized in “ethnic story” narrated his Vietnamese life in order to meet an upcoming deadline even though finally he can’t submit his story because his father burns his work. Throughout the story, Nam the narrator talks about “the past” which he experiences when he was young including the recent experience that he has got from his father reunion. Not only does the story tell us about the past which, but it also shows a connection of time between past, present, and future. Likewise, the story shows the relationship between son and father which is the main theme of this story; and shows how the past is important and affect to them differently. Also, the story of the past could lead to the end of the story that can be interpreted like a prediction of the direction of their relationship in the future.
The Missing Picture is Rithy Panh’s latest work in which he uses voiceover narration and clay figurines as a substitution for the non-existing media footage to depict the personal experiences him and his family faced during the Cambodian genocide. He also uses other typical documentary devices such as archival
In her essay, Susan Sontag takes on her perception of debating on photography considering as an art or activity, examines the study of looking at photography, and how it is considered a creation of images. In this essay, she also discusses and argues on how there is such thing as “Photographic seeing”. She mentions that some people could see through the camera and they can change their ways of seeing as “in the process of becoming a habitual camera users”. As she stated, “The world becomes a series of events that you transforms into pictures and those events have reality, so far you have the pictures of them.” She discusses how people are affected by photographs, the effects that shock photography can have on society and the numbness this can
His combination of artistic skill, strong opinions and eagerness to share these visions, and his actual endeavours led Frank not only to have produced an incredible, heartfelt project, but also meant that he had the chance to re-evaluate the American culture. At a time where people people were more skeptical and less willing to accept change, this grand gesture of cultivated work introduced the possibility of hope, if not through direct praise, but by giving Americans the chance to see their country for what it really was. I find Frank to be a highly influential, interesting and talented photographer, and I can only hope to maintain some of these qualities in my own work. “It was the vision that emanated from the book that led not only me, but my whole generation of photographers out into the American landscape in a sense — the lunatic sublime of America," (Joel Meyerowitz-
These three photographs illustrates just that. Their journey and drive for a new identity, an opportunity that was not taken for
Originally published in 1977, The Little Weaver of Thái-Yên Village is a bilingual text written in Vietnamese by Trần Khánh Tuyết and translated into English by Tuyết and her husband, Christopher N. H. Jenkins. It tells the story of Hiền, another orphan who, like Kim, is taken to the States; in this case, for an operation to treat the injury she suffered in the explosion that also killed her mother and grandmother. The book’s goal is similar to those of Always with You and Angel Child, Dragon Child. According to the back cover, this work of children’s literature is intended to help young Americans “better understand the Vietnamese War and the dilemma facing more than 100,000 refugee children who came to North America at the end of the war.” As a work that fosters understanding between American and Vietnamese children, The Little Weaver of Thái-Yên Village does not shy away from portraying war’s savagery, probably to the dismay of some parents and school