Audio Story Jamie Lee

http://www.thisamericanlife.org/radio-archives/episode/47/christmas-and-commerce

David Sedaris is one of my favorite authors, simply because he's funny. It's easy to laugh in a full theater, or even in an empty living room with a good comic on TV. It's a lot harder to laugh while reading a book. But Sedaris manages to elicit this reaction consistently with his written work. This link is a replay of the original airing of his short story "Santaland Diaries," which chronicles his work as an elf in the Herald Square Macy's for two Christmases. In typical Sedaris fashion, it's funny without trying too hard, and hearing his intonations while he reads his own work adds more flavor to the already well-seasoned piece. It demonstrates how audio can still provide excellent entertainment--maybe even better than movies or the TV.

Homework Details for Next Week

It's already that time again -- to rotate slice sections. Next week you'll meet one room down in Jamie's video slice.

But you have one last homework for this class... to post a favorite piece of audio to the class blog. It must be a journalistic piece of audio, but it can be any genre -- feature, news, sports, personal essay, etc. It has to be online somewhere so you can post a link to it. Just post the link to the blog and write one short paragraph about what you like about it. That's it -- it's part of your class participation grade, but it's mainly a chance to go out and find some audio you like and think about why it works.

Due next Friday by start of class.

Links from Audio Week 4

Here are the examples shown in class today:

Weslaco Bullriders -- Life Lessons Learned Over 8 Seconds

Under One Roof

Slides for Audio Week 4

Audio Week5 Fall2010

Jared Wosleger: "War Photographer" Reflection/Review

Nominated for an Academy Award for Best Documentary Feature, WAR PHOTOGRAPHER accounts roughly two years of a photographer James Nachtwey's journey throughout the globe, capturing the essence of war in Indonesia, Kosovo, and Palestine during violent times.

Nachtwey's detailed photographs depicting suffering, pain, and death speak to his enormous amount of courage and bravery in telling the true nature of war; serving as a model for any aspiring photographer's today.

A great photojournalist Robert Capa said "If your pictures aren't good enough, you're not close enough." Nachtwey's pictures are good enough because he does whatever it takes to get close enough to the scenes, even if he is risking his own personal survival. What is more inspiring is his ability to demonstrate respect and understanding for those grieving. He believes there is an unspoken agreement with his subjects and environment; by capturing the events in great detail, he is able to capture the attention of people all throughout the world.

One of the most compelling themes of the documentary is the degree to which a covering journalist should become involved in the events, people, and environment that he or she covers. Nachtwey's ability to overcome language barriers and find a bond with his subjects brings up a current issue facing the journalism industry today. Objectivity is stressed as an imperative action that all journalists must take, hoping to remove any biases or opinions from the story. Nachtwey arguably was not objective, however this documentary is an example of why objectivity comes in various forms. He is able to remain calm and highlight the events as they would unfold, and was able to show the true nature of war and what it's like to be a war time photographer.

Some of the images shown through the eyes of Nachtwey are truly moving, and really opened my eyes to wartime photography. Some of the images of riots and poverty in Jakarta Indonesia, or images of abandoned and starved children allow the viewers to understand the life of a war photographer. Throughout the footage of Nachtwey covering in various parts of the world, he appears unmoved by the horrific scenes, almost lacking human emotions and seeming to be a very cold person. By including personal interviews however, he is able to explain the reasons for his behavior, and instead shows how touched and compassionate he is.

Nachtewy's photos are evidence to the world of the enormous potential of a powerful picture. When done correctly, this still portrait can tell a story in a way no other medium can deliver. I am constantly reminded of the age old saying, 'pictures speak a thousand words,' and after watching this documentary I have seen how true that statement is. With the snap of a shot, journalists can educate the public and call attention to societal issues, conflicts, and tragedies occurring in our planet's most ignored regions.

I have gained enormous respect for war photographers after watching this documentary. All to often people are reminded about how taxing a doctor or lawyers' profession is on their lives; however a war photographer must face the real, untamed, brutal and often deadly environments and the sorrows and afflictions of innocent and helpless victims. It can be a saddening and depressing career for any human being, however, I believe this documentary showed me how rewarding war photography can be if done correctly.

Homework Details: Profile of Person, Place, or Event

Reminder: Bring audio recorders and headphones to class this Friday (Oct 29) for an in-class project!
\
Homework assignment:

* Yep, produce a profile piece of a person, place, or event.
* Must be at least 2 minutes long, no longer than 3:30.
* Must have at least 2 interviews and 2 ambient sounds.
* Must have hook -- you have to write a headline for the piece. I will ask in class what your headline is.
* Must have a story arc. By this I mean a well-thought-out structure so that it's not just some random collection of facts. Think of how the pieces we listened to in class had a clear beginning, middle, and end, and do that with your piece.
* All sources must be clearly identified with first and last name and one identifying detail (age, year in school, etc).
* You cannot interview close friends or family members in this piece unless pre-approved by your editor (me).
* Your final audio file, in mp3 format, must be uploaded to the iTunesU dropbox by start of class next Friday. Do not wait until class to upload. We'll go by the time stamp on the dropbox, and work uploaded after noon will lose points.
* File names must include your first name, last name, and the word "profile."

Links From Audio Week 3

Examples from this week's class:

The Chronicle of Higher Education: Say Something, Romain Quinn

This American Life: Turncoat (starts at about 13:54)

The Hunter (profile of a dumpster diver)

The Chronicle of Higher Education: Say Something, Zora Howard

NPR Morning Edition: Airman Honored For Bravery During Fierce Battle

WSJ: Young Australian Puts a New Spin on Bowling: He Throws Two-Handed

Slides From Audio Week 3

Audio Week 4 Fall2010

Alissa Gulin - War Photographer Reflection

Photographers like to say that their still shots are the most powerful medium for conveying emotion, and if this film is any indication, then they’re right. I was struck by the intensity of the sadness and empathy that War Photographer evoked in me and, from the looks of it, my fellow classmates who covered their mouths with the same captivation that I felt myself. The pictures themselves would have been moving enough to provoke tears from most people who view them, but getting the behind-the-scenes perspective was even better able to put me in James Nachteway’s shoes as he moved from one violent scene to the next. It was a shocking, eye-opening perspective that lent the film an element of reality unmatched by any other special effects the director could have used. The vantage point behind the lens that was achieved from his attachable video camera made me feel like I was actually the one on the scene, snapping photos of atrocities I can only imagine.

Nachteway said if he were to become any photographer, it would be a war photographer. His motivation to educate people on the tragedies and injustices of war and other social crises is inspiring. He called his photography a “powerful indictment of the war,” and that just by showing people what was going on, it was an undeniable contradiction to what the government wanted the public to believe about the Vietnam War. His photos show the authentic emotion of ordinary people in situations that no one should have to find themselves in, and Nachteway portrays them accurately. I thought that the film covered every aspect of his job that a viewer could want to know about, right down the minutiae of his day-to-day labors, like meticulously labeling the film rolls and sorting out the placement of each photo. It was a strange reminder that taking these photos is his job, a job that he takes as seriously as possible.

His narratives answered many of the biggest questions I found myself asking throughout the course of the film. Most notably, I wondered how he could bring himself to snap close-up shots of people in utter agony, grieving over the mangled bodies of their children or lying on a hospital bed in terrible physical pain. He recognizes that taking photographs in private moments such as these in someone’s regular life would be unheard of, absolutely out of the question. But in a war zone, where people are forced to suspend any sense of normalcy, his presence was accepted, even welcomed. Through his photos, he told their story. Even when there was a language barrier, the universal understanding of injustice extended to an understanding that he, as a journalistic photographer, was doing them a great service by showing their pain to other people. Without him there, their grief would only be experienced by those around them, people who are not in a position to do anything productive about it. But through his pictures he evokes empathy, one of the most important ingredients in bringing about action. The people in his pictures realize they are victims, Nachteway said, and therefore allow him to document what they’re going through.

I thought the film did an excellent job of giving the viewer a complete picture of what Nachteway does every day and also included powerful video of action in the field. When a crew from NBC was reporting on the mass graves where anthropologists were identifying body parts, the film showed children throwing flowers onto the covered bodies. That one portion was so compelling because it conveyed the horrible, all encompassing effect that the war had on the environment they were in. Children seemed to respond to the scene as though it were just another sad day in the life, and it was incredibly depressing. The contrast of the shots of him in the field with the clean, unemotional, hard-tiled office scenes and the interview with the editor he had a relationship with was jarring and further illustrated to the viewer the enormity of his undertaking. He sacrificed everything in order to follow what he felt to be the ultimate fulfillment — doing whatever he could to show what happens to the people who were unlucky enough to live in a war environment.

His strategy of distancing himself from the horrors he sees through his lens is understandable, but at times baffling. That Nachteway sees people dying, starving, bleeding, sobbing or worse when he goes to work everyday is almost mind boggling, and several times throughout the movie I caught myself wondering whether I could do it. I never arrived at a definitive answer. I would like to think I could thrive in the dangerous environments if I knew that my doing so would show people who can’t be there what war is really like for those involved. But when I try to imagine myself in such a scenario, I know I would be too overcome with emotion to continue taking pictures. One of his colleagues said after a long day, several of their coworkers like to unwind with a beer, but Nachteway never felt the need to recover from what he’d seen, at least in public. He often came across as too distant, but because his experiences set him apart from most other people involved in the other steps of the process it is impossible to fault him for his personal way of dealing with the atrocities he has photographed.

Jason Lewis War Photographer Response

Nachtwey Mini-Analysis

Through his work as a photo-journalist, James Nachtwey demonstrates what it takes to achieve excellence in a given profession. He attacks his work with passion, diligence, patience and a laser-like focus. In the beginning of the film, War Photographer, fellow colleague, Christiane Amanpour, comments that it is the “single mindedness” that Nachtwey approaches his work with that allows him to capture the breathtaking images that he does. There are few people in this world that are able to “lock in” to their craft the way that Nachtwey does.

In War Photographer, we see Nachtwey taking pictures under some of the direst of circumstances. We watched him take pictures during exchanges of gun fire, explosives and chemical warfare. Yet throughout it all, he remains poised and focused on getting the shot. When people envision fearlessness, most do not envision someone like Nachtwey. He is soft-spoken and reserved, but there is nothing timid about him. During the film, one of Nachtwey’s colleagues says that what separates Nachtwey from other photo-journalists, is his instinct to run towards a tense or dangerous situation—where as it is natural for most people to distance themselves from danger. The scene where Nachtwey’s follows the angry mob that is chasing and torturing a man through the streets is particularly astounding. There were no guarantees that the mob wouldn’t lash out at him for taking pictures of them murdering the man. But, he has the uncanny ability to endear himself to the people that he photographs. He doesn’t try to talk them up and make them like him; he just quietly communicates to them that he is there to document their pain or anger.

Nachtwey’s pace is also incredible. He’s never in a hurry when he takes photos, no matter what the circumstances. And yet, he always gets the right photo. The greatest quality about Nachtwey is that his work is not motivated by the desire to garner notoriety for his work. He truly does what he does for the sake of true journalism. He wants the entire world to see the despair so many of its inhabitants must endure. He puts his life on the line in order to inspire people to remember the forgotten ones.

Julie Baughman, Movie Review

World famous war photojournalist James “Jim” Nachtwey is profiled in the movie entitled, “War Photographer.” This movie is an inspiring documentary that depicts the situations and strategies that Nachtwey has been though and used throughout his career.

            Throughout the entire movie there are certain clips that were shot from a small video camera that was mounted atop his personal camera. This technique was very effective in showing Nachtwey’s point of view as he was shooting. This also allows the audience to see when he presses his finger down on the shutter, therefore showing the exact moment when he takes his pictures. By showing his point of view it provides the audience some insight into what he may think is a worthy photograph as well as depicting some of the terrible and terrifying things that he has seen through the lens of his camera during his career as a war photographer. If the producers of this movie had not used this point of view method, the drama of Nachtwey’s career would not have been as effectively personified.

             The use of anecdotes by his colleagues and friends as well as by Nachtwey himself also provides the audience with a more personal insight into Nachtwey’s mind. Throughout the entire movie he is being depicted as a very stern, solemn, and almost frightening man, but the personal accounts of people’s interactions with him as well as his own stories provide a more humane aspect to his personality that one wouldn’t be able to perceive on their own. Throughout  the footage of Nachtwey shooting in various parts of the world, he remains unemotional and appears almost inhuman, however, he discusses how, “it’s very important to stay centered inside yourself,” and how, “for me to go to these places and cave in would be useless,” which give him a slightly more emotional and compassionate appearance. Without these personal interviews, Nachtwey would appear a scary and unemotional man.

            The use of a point of view video camera atop Nachtwey’s personal camera as well as interviews with friends, colleagues, and Nachtwey himself are what make this movie truly informative, moving, and inspiring.

Ellen Fishel-James Nachtwey, War Photographer

Every day, we open the newspapers and turn on our televisions only to be greeted by gruesome images of war and destruction. However, it is not often that we think of those who capture those images. The film “War Photographer” gave a fascinating portrayal of the career of James Nachtwey and emphasized the immense influence photojournalism can have.

All of Nachtwey’s travels portrayed in the movie were filled with emotion, carrying a great, overwhelming impact. Nachtwey’s ability to capture all of this intensity so perfectly with just a few still images was astounding. It clearly could not been done by just anyone with a camera. Nachtwey possesses an amazing talent for photography, and the movie showed that much of his success comes from his immersion in and dedication to his work.

From the beginning of the film, it was clear that Nachtwey was passionate about war photography. He said that he felt as though he was witnessing history, and more specifically, what happens to ordinary people throughout the course of history. This point really resonated with me, because the fate of the ordinary people during war and disaster is never something that is discussed heavily. Destruction, despair and hopelessness are always glazed over in history books. However, Nachtwey experiences it almost every day. Through these experiences, he said, he was able to find himself.

Nachtwey is unlike any journalist I have ever heard of. In all of our journalism classes, we are taught that objectivity is key and to keep our opinions far away from our work. Nachtwey completely contradicts all of these tenants. He refuses to stand by and simply photograph scenes of extreme injustice, cruelty and destruction without expressing compassion. I believe that this is what makes his photographs so profound—he truly feels for the subjects he is photographing. One of the most moving parts of the film, in fact, was when one of Nachtwey’s colleagues was describing such compassion. Nachtwey once put down his camera, got down on his knees, and begged a group of people not to kill an innocent man they were torturing. I believe that just this one incident sets Nachtwey apart from any other photojournalist.

Throughout the movie, it is evident that Nachtwey has a clear purpose for his photographs. He wants desperately to enact change—social, political, economical, or really any type. He recognizes the potential impact photojournalism, and specifically war photography, can have, saying “The way you cover a story defines the way the world sees a story, so you better do it right.” Well, Nachtwey is clearly doing something right. The physical manifestation of Nachtwey’s success is shown, I believe, at the end of the film when Nachtwey receives a letter from someone who has viewed his photographs. This person pledged to send 20 dollars a month to the family that lived between railroad tracks that Nachtwey photographed. This man was clearly affected by Nachtway’s pictures, and although he barley had much money himself, he was motivated to help those even less fortunate. This is the epitome of what photojournalism is all about.

Angela Wong: James Nachtwey "War Photographer" Essay

James Nachtwey is a combat photographer who utilizes photography to promote social, political and economic change. His work is a voice for those in war or extreme poverty and devastation who cannot speak themselves. To capture expressive images, he thoroughly documents war refugees and mourners in the midst of their grief. However, he is so meticulous and calculating that I wonder whether or not he offends his subjects and invades their privacy.

The documentary “War Photographer” (2001), directed by Christian Fei, shows how Nachtwey uses photography as a medium to evoke a human response. Throughout the documentary, he is mostly expressionless and reticent, with deep grooves in his hardened face as proof of what he has witnessed. He is relentless, silent and calculating; he and his camera are always focused, trying to get the shot, even if that means risking smoke inhalation by approaching a burning building.

His relentless is exemplified by his thorough, up-close, invasive documentation of the grief and misery of families, friends and communities who have lost loved ones or are suffering themselves. For example, early in the movie, Nachtwey is in a village in Kosovo during the height of the region’s conflicts. He pursues an elderly woman as she discovers her home in ruins. He follows her, stops to take a few pictures of her from afar or in front of her face and continues moving with her throughout what used to be her house. She seems too distressed to care he may be invading her privacy, or she pretends Nachtwey is not hovering over her.

In Kosovo, he also takes pictures of a family mourning over the death of one of their own. Nachtwey documents everything from the dread that the young man has died, to the discovery of the body, to the arrival of his coffin at his family home. He quietly observes the scene and moves around the mourners to concentrate on the man’s mother. Nachtwey snaps photos as the woman in hysterics, beats her breast, calls out loudly and unable to stand on her own, leans on female family members behind her. His meticulousness again calls into question the appropriateness of his work in such situations and whether or not he even considers his subjects’ privacy.

Their nonchalance may be an expression of their desire to be left alone, however, Nachtwey firmly believes they are allowing him to cross over the usual lines of privacy and that they want him to be there documenting their pain. He explains he cannot take these photos without being welcomed, accepted or wanted by those suffering because they demand he show the world what is happening to them, to give them a voice they will never have. They understand he is there draw attention to their crises and send a message to the rest of the world; they support his purpose by granting him such exposure.

Nachtwey says he is never felt complete or satisfied with his work, possibly because of his greatest fear, profiting off someone’s misery. He gains grim satisfaction on bringing attention to devastating events. He does not want to be seen akin to a cold-hearted surgeon, says the foreign editor of Stern magazine interviewed in this documentary. Nachtwey says he tries to approach with respect for his subjects and their situation. He intentionally does not move fast, speak loudly or act openly, but they acknowledge him and with few to no words, permit him to work. He says he would not be able to overstep privacy lines if he did not work in war or other devastating scenes. War changes the rules because there are none. The chaos created by the absence of rules allows Nachtwey to chronicle this.

Nachtwey’s work appeals to humanity’s sense of right and wrong. We must look at these pictures, he says, we are required as humans. Nachtwey recognizes this need, and his response is to take pictures as proof to show the rest of the world in the hope that these photos will help prevent future suffering. He recognizes that his work at best can be a powerful ingredient to end war, not the solution.

Joel Barnes. War Photographer Reflection

The War Photographer is intriguing and insightful, and after watching the documentary I have gained a newfound respect for photojournalism. Most importantly the film illustrated how photojournalism has the power to create social change. James Nachtwey is considered to be the greatest war photographer of recent decades. The film shows his life’s work, and how committed he is to covering wars and other social issues that plague many countries throughout the world. Nachtwey is like no other photojournalist. He has witnessed firsthand the horrors of war, and with is camera he has captured the most moving and dramatic moments of warfare. Nachtwey made the decision to become a war photographer in the early 1970’s during Vietnam. By simply showing what was going on in Vietnam, Nachtwey made a strong indictment of the war, and showed how cruel and just the war was. His Vietnam photos stirred the emotions of the American public, who were becoming increasingly frustrated with America’s involvement in Vietnam.

War photography fascinates Nachtwey because of the sense of adventure, facing danger, and seeing what happens to ordinary people and their authentic emotions. When asked why Nachtwey puts himself in the most extreme and dangerous situations, Nachwey replied, “because I have to.” In times of conflict most people don’t want anything to do with it, but not Nachtwey. He is right in the middle of the action. Nachtwey pointed to the fact that since the whole world can’t witness a war, it is his duty as a photojournalist to show what is happening and to give the victims of war and conflict, a voice to the outside world. Nachtwey is relentless in taking his photos. He keeps pushing the limits; one colleague of his said that Nachtwey views himself as being bulletproof. During life threatening situations, amidst gunfire and chaos, Nachtwey is reserved, calm, and focused on shooting the best pictures of war.

The power of photojournalism, particularly war photography, lies in its ability to define how the rest of the world views the war. By covering the stories behind war photojournalists paint the picture of what is happening in the war. By doing so the pictures can potentially evoke sentiment, and protest and can call upon people to take action. If atrocities are being committed and a larger number of people are being affected, one photo, at least one Nachtwey photo can be a “powerful antidote to war.” His photos, which were displayed in the film, are sometimes difficult to look at. In addition to war, Nachtwey covers famine, pollution, and poverty. It was depressing to see how some people live the way the do in third world countries.

In all Nachtwey separates his emotions from his work, and any emotion that he does feel he channels into his photography. He also said that he learned how to express his personal feelings in a photo. It is difficult to be an objective observer, when people are dying next to you. In the film his former girlfriend and colleague said, “He has his own library of suffering in his head.” She explained that the photos are only a fraction of what Nachtwey has seen, heard, and felt. Nachtwey has been wounded four or five times, suffered terrible diseases, but he is still fearless in his approach to war photography. Nachtwey said fear is not important, its how you deal with the fear. One thing that I found interesting is when Nachtwey said that the people he photographs are more important than himself. When photographing victims of injustices, Nachtwey tries his best to respect them and the situation they’re in. He stressed how important it is to be welcomed and accepted. When family members are grieving a death it would be impossible to go into their home and snap photos of them, without first being welcomed. Still, those people know they are victims of injustice, and the cameraman is the outlet to show the rest of the world those injustices.

Nachtwey has never felt complete or satisfied with the job that he has done. He says that there is always more to do, and that he can’t be happy because his work involves other people’s tragedy. He has given everything to the job, so much so that he hasn’t been able to maintain a stable domestic relationship. At his testimony, which was sort of like a gallery of his work, Nachtwey said, “I’m a little shell shocked by it all."

Lareine Karpouzian. War Photography Reflection.

When I think of journalism, I am reminded of a profession that values truth above all else. To rightfully call oneself a journalist is to exhibit those qualities of honor, of privilege, and of genuine devotion to the craft.

            The documentary on James Nachtwey and his influence on war photography blew me away. Images of starving and emaciated children, grieving women, and war-torn villages truly amplified the meaning of being a war photographer. Nachtwey’s stoic exterior and calm demeanor may, upon first glance, suggest an uncaring and cold attitude, but if one were to look closely enough, Nachtwey’s boundless devotion and love for his craft are revealed.

            We live in a society that has begun to idealize superficiality and celebrity culture. Although causes and people who support those causes still exist, they are rapidly becoming outnumbered by pop culture bloggers. The societal atmosphere has become one characterized by shallow pursuits, covetousness, and selfish opportunity. Photographers like Nachtwey who attempt to bring forth the agony and authentic raw emotion that exists with war are doing society a grand favor. Nachtwey and his colleagues bring to light the devastation and famine that exists and is swept under the rug so many times.

            Nachtwey’s photographers in particular touched my heart. I found myself in silent tears as he photographed the grieving woman who lost her son, the emaciated mother and child, and the man missing an arm and a leg. Each of these photographs holds a story, and we were able to witness the tragedy behind the art. Nachtwey’s compositions are truly remarkable and unique: his photos speak volumes. A journalist can always speak about an issue and call attention to a societal conflict or problem, but a photo of the event or occurrence indicates power beyond words.

            This documentary and Nachtwey’s work holds a profound place within me and has caused me to acquire a new respect for the field of photo journalism. Not only is it a dangerous profession, but it is also a rewarding one. I could sense Nachtwey’s feelings of accomplishment and pride after showcasing his brilliant work, and I could also see his quiet stoicism and grief for those subjects he photographed. War photography is something that should gain more attention simply for its brilliance and expository qualities.

            

Matt Birchenough War Photographer Response

The film War Photographer tells the compelling story of the career of photographer James Nachtwey. The film documents his work in places such as Kosovo, Indonesia, and the West Bank, areas torn apart by war and political turmoil. Nachtwey points out that his main objective in covering war and tragic human events is to convey the hardship and emotional toll that war takes on people throughout the world. Still photography can present people’s raw emotion more effectively than other forms of media in many cases. Nachtwey argues that this portrayal of emotion and of the utter destruction caused by war gives people a voice in the outside world.

One of the most interesting factors presented in War Photographer is the amount of danger that photographers encounter in their job. Nachtwey has become a successful photographer, in part because of the danger he puts himself in every day. Nachtwey puts himself in the center of the action, no matter how violent, while other photographers are shooting from afar. Despite displaying a fearless nature while working, Nachtwey acknowledges that fear always exists when in a dangerous situation. He just channels the fear into his work rather than let it negatively affect him. He also used this technique for any sort of emotional response that may have interfered with his ability to take effective photos. It is almost unfathomable that a man could be placed in such situations as the Rwanda massacres or the fighting in West Bank or in the squalor in Indonesia and not cave in to feelings of sadness or fear or pity.

However, it is this ability that makes Nachtwey’s work so astounding. He almost seems to lack human characteristics of feeling by the way he can so calmly walk through a violent mob or a village of mourning women simply snapping pictures, but his ultimate goal is to capture the human side of those he photographs, which is significantly more valuable than any feelings he can express. Nachtwey establishes a sort of bond with those he photographs because they understand that he is doing it to give them a voice in a world that has mostly ignored them. This creates a sort of paradox in the profession of a war photographer. One cannot let their emotions get the best of them while they work, yet the photographer also cannot do this job without emotionally connecting with those he photographs. Early in the movie, it was almost uncomfortable to watch how close Nachtwey got to take pictures of the people involved in the burial in Kosovo. However, when he later said how he establishes a sort of personal relationship with people, it makes his actions seem far more appropriate.

In the film, Nachtwey said that the coverage of certain stories must be taken very seriously because the way they are covered may define how the rest of the world sees those stories. For example, coverage of the Vietnam War, which Nachtwey said inspired him to become a war photographer, molded the opinion of much of the American public that grew weary of an endless war in which many young Americans were dying. I believe that in many ways Nachtwey’s photographs have the similar ability to shape public perception of certain events. His powerful photos of mourners in Kosovo, bawling at a man’s burial and wandering aimlessly through streets of rubble, focus solely on the emotions of war victims. They say nothing of military tactics and positioning of opposing forces or any political ramifications that the war has on the United States or any other country. All that these pictures are saying is “Look at the pain and suffering caused by war.” The photographs of corpses in the back of a dump truck evoke images of utter brutality and destruction. These pictures can have no other effect than to cause people to cringe or cry or speak out against war, and Nachtwey believes that if they cause enough people to cringe or cry or speak out, then maybe something can be done to stop it.

Posting Future Audio Assignments to Audio Dropbox

Posting Audio to the iTunesU DropBox (4 easy steps)

Ok, here's a step-by-step guide to posting your audio pieces to the drop box:

* Step 1: Moving file from your recorder to your computer. This depends on which audio recorder you've purchased or borrowed, but for most, just plug the device into the computer or connect with a cable, find the audio files you created, and then drag them to your Desktop or favorite folder. See the instruction manual on your recorder if you hit a snag on this.

* Step 2: Converting the file to a .mp3 format. Some audio recorders can be set to tape in mp3 format, in which case you can skip this step. If you do need to switch from .WMA or .WAV to .mp3, there are many ways to do this, so choose the one that is easiest for you.

* Method 1: Stand-alone converter program: There are free software programs you can download to your home computer. My favorite program for the Mac or PC is Switch. If you can't get the free trial to work for that, another one for PC is Free mp3 WMA Converter. And for Mac you can try All2Mp3.
* Method 2: Online converter method. If you can't install software, there are free Web sites that will do it, but they have some pop-up ads (which won't hurt your computer but are annoying). The best I've found is zamzar.com, but let me know if you find a better one.

* Step 3: Rename your file. Find the mp3 file on your computer and rename it so that you use your name, an underscore, and then the name of the assignment as listed on the syllabus. Make sure the file still ends in .mp3

* Step 4: Place in iTunesU Dropbox. Click on the dropbox link and log in using your university ID and password. Then choose, open with iTunes. Click on "Upload and Manage Files" at the top right. Then click "Add new file" and click "Browse" and select the file from your computer. Then Click "OK." The file should then slowly upload -- might take a few minutes -- don't close your browser until it reaches 100%

Let me know if you have any trouble.

-Jeff

Nancy Pham | War Photographer reflection

James Nachtwey is a man of little words.

But he can take one hell of a photograph.

War Photographer depicts the work of this extraordinary man - who still remains a mystery to me - who finds a way to connect his subjects’ emotions with his own so he could accurately portray their life through his lens.

Honestly, I wasn’t expecting such a dreary, gloomy film, but at the same time, it was so powerful and eye-opening.

I’ll admit, at first, I thought Nachtwey was being a bit cold because here, you have these women pouring their heart and soul due to a loved one’s death, and Nachtwey was always in the face, not even a foot away, taking photographs.

It, in my opinion, was supposed to be a private moment, but how else are you supposed to capture these peoples’ emotions without getting right in their face? How else are you supposed to tell their story? Nachtwey says that you have to be accepted by the people you’re being photographed to capture all the emotion. If he were to come into a random person’s house, his photographs wouldn’t have the same effect. If you’re going to be a photographer, a war photographer, you have to respect your subject, Nachtwey says. By allowing your subjects to take you in, you have the task of showing the rest of the world what destruction is going on out there. Nachtwey’s photos give the voiceless a voice.

Nachtwey says that “fear is not what’s important;” it’s how you manage it. And whatever fear he has when he witnesses all the evils and misfortunes out there, he manages it quite well.
I find Nachtwey’s dedication to his work remarkable. He’s not just about snapping photos and then leaving the premise. He gets IN on all the action. He surrounds himself with his subjects, so he can understand what is going on. You can’t truly understand what’s going on if you’re 30 feet away.

One prime example shown in the documentary was when a mob chased a man with machetes and ended up murdering him. While all the other cameramen and videographers were watching from a far distance, Nachtwey was in the scene of it all. He ran with the mob. A major issue that journalists find is taking a photo of an act of injustice or preventing the act from happening. Nachtwey does both. Not only does he get great shots of the murder, he tries and begs the mob to not kill the man.

Nachtwey says that his “photographs are only a fraction” of what he’s experienced, and he’s experienced a lot. The way he internalizes everything is incredible. His job may be a bit extreme, but he’s trying to save lives in the process of it.

Rachel Karitis: Movie Reflection

When we watched the trailer for War Photographer in the photography slice of this class a couple of weeks ago, I jotted down the title in my notebook, making the mental note to watch it one theoretical day in the future but realizing that it would probably get pushed behind endless essays and readings for classes. So naturally when I heard that we were going to be watching it in class, I was excited to get a chance to learn more about the working process of a professional photographer, and rightfully so. Having a video camera attached to the top of the camera while he was taking photographs was a fascinating journey into James Nachtwey’s mind.

Watching Nachtwey work, not only through the video camera on top of his camera but also through the video camera being held by those accompanying him, gave an example of the best a war photographer can be. He didn’t just photograph things or places, he photographed people: people trying to escape from oppressive government, people trying to repair towns in the aftermath of war, and people just trying to get by in desperate poverty.

With the constant barrage of newspaper and broadcast coverage, it is easy for Americans distanced from war to become somewhat numb to the idea of atrocity. It begins to seem natural that such things occur; it’s just a part of everyday life that people are dying in mass numbers in faraway lands. But photos like those taken by Nachtwey make you stop and think about what is actually happening. The photo of just one man standing in the ruined streets of a town is so much more real than numbers and statistics about how many are suffering.
The amount of dedication Nachtwey gives to his job is truly inspiring. Being a war photographer for him is more than a job or a profession. It’s his entire life. He does not have a family or a wife, he just has his camera and his photographs. This allows him to dedicate his entire self to being the best photojournalist he can be, which is inspirational in terms of how much he cares, but also depressing in terms of what it may take to be the best in any journalistic field.

In the documentary, Nachtwey suggests that war photography is part of the “antidote to war,” which was a strong message that really made me think. As someone whose father is in the Navy and thus has spent and continues to spend his career focused around war, the idea of finding an antidote to war had not necessarily occurred to me in such a way before. But the photographs shown in the documentary were so powerful that suddenly it seemed absurd to be anything but a pacifist.

This, of course, is Nachtwey’s goal: to have his photographs stand on their own and help, even a little, in the effort to have peace win out over war and destruction. He says in the documentary that if everybody could spend just one day in one of the places he has been, then there would never be fighting again. But because this isn’t possible, he is the one who goes there, and he brings his photographs back as a way of taking us there. After looking at his photographs and hearing him speak about them, his goal is undoubtedly accomplished.

War Photographer

Few words in the world resonate as loudly as the word “war”. Such a short word can be more powerful than the longest word. It has power. It shakes us to our core, targeting images of death and destruction. It reminds us of the gaping holes in the conduct of mankind. Few choose to think about the word often because of the amount of hate and hurt it holds in its three short letters. But James Nachtwey has made it his life.

He is a war photographer. One of the most demanding and detrimental jobs a human could have, it forces him to confront that small, yet powerful word every day of his life. It forces him to enter into the world’s battlegrounds and become a part of it. With his camera, Nachtwey immerses himself in a dangerous world, putting his life at risk. Even more so, he puts his sanity and humanness at risk.

James Nachtwey’s War Photographer is a unique film that captures the spirit of this profession, or at least the spirit of Nachtwey, better than anything else could. The movie is a compilation of raw, real photographs and video clips from Nachtwey’s life photographing war. The images are difficult to look at. The ones in the action are morbid, horrifying and shocking. The ones that capture the effects of the action, namely the emotions, are depressing and heart-wrenching.

While watching this movie gave me an appreciation for Nachtwey and his profession, I do not agree with it. Nachtwey says in the film that he photographs war so he can show the rest of the world just how cruel people can be and hopefully change the world. I think it is admirable to want to take it upon yourself to end war, but I also think that it is foolish. Photographing war may inspire some people to protest it, but I do not think that it can do much more than that. I suppose with something like war, where everything is chaotic and unclear, there is not much else to do but raise your voice. And Nachtwey has done just that. He has a loud voice through his deeply touching photographs. They are beautiful in a sad way and ugly in that they are reality. Nachtwey hopes that with his widespread circulation of war photographs, he can force people to know what they pretend not to know and face reality and stop war. 

But unbelievable photography is not the answer to war and Nachtwey may spend the rest of his life never seeing satisfying change. I think that he has dedicated himself to the cause and as long as his photographs are being published he feels that he is making a difference, and he just might be. But I think that he lost himself and the rest of his life in a field that showed him only sadness and misery. Not only could I not view some of his photos, but I cannot imagine being there for the moments they were taken. I am one of those who shutters at the little word “war”. I could never bring a camera into a battlefield and “work” while others die in front of me. I could never flash an intrusive white light in the eyes of someone who is grieving at the loss of their child. If I saw a man get shot in front of my face, my emotions would overpower any journalistic purpose I had. That may not fit in to the black and white ethics of journalists but we are human beings first.

A good journalist is supposed to be detached from their subjects in order to accurately report a story. But how is it possible to detach yourself from war once you have already been exposed to its disturbing images. I think that Nachtwey had a problem doing this as well. He became so consumed by the terror that it sucked the life out of him. He did not want it to affect his journalism so he buried it inside him. But it was still there haunting him. In all of the solo shots of Nachtwey, it looked like he had just seen a ghost. And he had seen thousands of them. He persevered through the pain by dehumanizing it. But that, I think is against the whole point of his journalism: to provide a human aspect to war that forces people to sympathize and make a change. Nachtwey held the power of a million war photographs and videos inside him and it seems like the war took him as a casualty. The woman who was his former girlfriend was important insight into his lack of humanity due to his job as a war photographer. He couldn’t smile, he couldn’t relax and forget about work for a second.

I really enjoyed the movie because it showed me something I could never have known without seeing it with my own eyes. Nachtwey’s photos of course made me more against war than I ever was. But, they also disturbed and upset me, even watching it from a journalistic point of view. It kept me wondering how disturbed and upset he must be deep down. I was able to walk out of my journalism class let the beauty of the world help me forget about the horror I had seen. Nachtwey cannot walk out on war. It is a part of him forever. I must say that I respect him and think he is a wonderful photojournalist, but I worry where journalism ends and life begins. 

Colleen Jaskot, Movie Reflection

It’s a ruthless business, war photography, with journalists just hoping someone will die so they can get the perfect picture.
That is, unless they are war photographer James Nachtwey, on their knees begging for someone not to be killed.
The documentary War Photographer follows the experiences of Nachtwey and the hardships he has faced with his job, including, as he puts it, making a living off of other people’s pain. Nachtwey has photographed war and poverty all over the world. He has won numerous prizes for his photographs, because he gets right up close to the action.
The problem with other war photographers and journalists, according to Reuters cameraman Des Wright in the documentary, is that they distance themselves from what is going on. According to Wright, they say, “I’m sorry, I’m a journalist, I’m not part of this.” They do not get in the middle of things and act like they are not involved. Nachtwey, however, is the one who is right there, telling people there is no point in killing someone, and that is precisely why he gets such good pictures—because he gets involved with what is going on.
I think one of the biggest questions for journalists is balancing the line between being an objective observer and a human being who is part of the world, and that is a main issue in the film. Personally, I think that it is not even a question. You are always a human being first and a journalist second. A journalist is not doing a favor to society by taking a picture of someone dying, instead of trying to stop it. As Wright describes in the documentary, some journalists take themselves too seriously, letting their ambitions and the competitiveness of the business to get the best picture or story get in the way. They stand back, excusing themselves because they are journalists, as if that excuses them from trying to stop someone from being killed. Just standing by and watching it happen is just as bad as being a part of it. Yes, journalists are supposed to be objective, but how can anyone be objective about another human being dying?
Nachtwey is living proof that that doesn’t need to happen for a war photographer to get good pictures. He does not stand back and watch, but instead is right where the action is; he treats people with respect, which is why they welcome him into their homes to take pictures of them grieving their dead from war.
That issue, for me, was the most memorable part of the film, and something that I think was not even stressed enough. It is slow moving at times, but it did allow all the horrible images of what Nachtwey has seen and photographed to sink in. At the end, the question of whether taking pictures really do anything to help still lingers, but those questions are answered, maybe as well as they can ever be answered, with a letter from someone who saw Nachtwey’s photographs that says they will try to donate money to one of the poor families Nachtwey photographed. Nachtwey’s comments at the end are compelling too. He says that maybe photography is the opposite of war, and he hopes that through photography, he can bring an end to it. Maybe that is an overly ambitious goal, but one thing is certain—that journalists who stand by while people die definitely do not help.

Yaman Shalabi, Reflection

In a world where entertainment news and pop culture have become the craze, one journalist devoted his life and career to report on issues miles away from the safe haven of his home. Normal people often run away from danger, this journalist always found himself in the midst of it. As people watched the latest reality T.V shows and movies he was watching a mob slice a man to death with machetes. As people are keeping up with movie stars and singers, this man was trying to stay alive. War Photography is a documentary that follows the life of Journalist James Nachtwey and his journey to “put an end to human behavior which has existed throughout history by means of photography”.

Nachtwey has been able to maintain his humanity while photographing inhumane actions however having a lifestyle that surrounds opposition, hate and cruelty has had evident consequences on his personality and behavior. Reserved and withdrawn after paying witness to despicable human behavior, he hoped to capture pictures that “would be a powerful ingredient of antidote to the war”.

It’s not easy for journalists to send across a message in their work, but Nachtwey dedicated all his time and allocated all his resources to show people what they do not often see. He wanted to take them to some unimaginable place and evoke a sense of compassion to the people he pictured and resentment and bitterness to those that caused them immense pain. He loved his job and wanted to do it well. He said it may seem disgusting that people like himself profit off of people’s pains and agony but he justifies it by saying his hopes are not for the money but to reach out to the world, to tell them of the atrocities, to tell them that someone within their species can commit horrible acts so that maybe people will react positively towards what he’s presenting and help save a life. He wanted his ideas and his feelings about war, destruction, social injustice to come across in his pictures.

I believe that although we are taught to remain unbiased, fair, and balanced, a good journalist is someone who cannot do that. Part of what makes us human is that we are made up of emotions, values, beliefs, opinions, and to be someone who prevents themselves from feeling anything then you, in my opinion, start trekking down a road that will lead to making assumptions, biased remarks and finally to misrepresenting and maybe even mistreating people. A good journalist will know to focus their opinions and beliefs into constructing a piece, whether it is print, photo, audio, or video, that will convey the story and your stance.

Nachtwey is a well-renowned war photo-journalist who has won numerous awards. I think he embodies the reason people go into journalism, to help change the world, to speak out. His achievements provide motivation to upcoming journalists and ambition to continue down the path.

Although the pictures portray an infinitesimal depiction of the actual violence, his art is so provoking, so compelling, and so mind-blowing that it stirs up people’s emotions, it gets them to talk, to pay notice and compel them to make a change.

War Photographer Response Piece--Jamie Lee

I went into class on Friday with high spirits—it was almost the weekend and it finally stopped raining. And then, fifteen minutes into the documentary War Photographer, my high spirits deflated significantly.

James Nachtwey’s images of utter human destruction were startling, especially because I researched many of those conflicts in-depth for various classes and extracurriculars in the past few years. But seeing actual photos resonated so much more deeply than the statistics and articles I read on the subject. Rwanda, for instance—I was able to put together a ten-minute presentation in high school while seeing only minimal photographic evidence during the entirety of my research. But James Nachtwey’s sepia-toned profile shot of the man who survived a death camp was so much more powerful than the heaps of words I put up on my PowerPoint.

The documentary showed an interesting juxtaposition between incredible chaos and incredible calm. Regardless of the scenario—whether it was in a war zone, a famine feeding center, or a dilapidated community by railroad tracks—Nachtwey maintained a state of near-meditation, methodically taking photos, his face void of emotion. Later, he explained how it would be useless for him to travel to these places only to lose it; it was then I understood his forced composure. He dedicated himself thoroughly to his craft, and controlling emotion was one piece demanded of him.

He didn’t flee in terror when Ken Oosterbroek was shot next to him in South Africa, and after some research, I discovered he didn’t retire after a grenade injury in Baghdad—in fact, he continued to take photographs after he was wounded until he passed out. His dedication to photography seemed so powerful, it was borderline fanatic.

But more than that, Nachtwey was able to combine his instincts as a human being with his talent as a photographer. A recurring ethical issue often arises in this field: should journalists stand idly by as third-party witnesses or try to intervene? I tend to side by the latter, believing that a human life is more valuable than a good piece. Nachtwey, in the one instance portrayed in War Photographer, did both by pleading for a man’s life while simultaneously taking photographs. That stuck with me the most—it seemed to demonstrate, in one concrete moment, how journalists aren’t just middlemen, relaying information from one area to another. They’re also human beings who should value someone else’s life regardless of the circumstance.

I tend to be wary of documentaries that focus solely one person, because oftentimes it ends up glorifying them to a saint-like status. And though this piece did exactly that, it was justified. Nachtwey made many sacrifices, including risking his personal safety multiple times, in order to give others a voice they wouldn’t normally have in the media.

The horror depicted in the documentary was immense, but strangely enough, I didn’t feel depressed by the conclusion of the documentary. Nachtwey’s inspiring optimism and motivations for photography overpowered any hopelessness. Sure, I wasn’t as joyous as when it started, but I believed him when he explained how photography has the potential to end war. After seeing his photographs I understood exactly how journalism can, in Nachtwey’s own words, “evoke empathy and shake people out of their indifference”.

Movie Reflection -- Sarah Katz-Hyman

War reporting is hard. War photography is harder. Reporters can easily tell a compelling story from their hotel rooms or safe zones. For photographers to have a compelling story they must venture beyond their hotel room into a place that tests human nature, free will, and journalism ethics. War Photographer details the life of a man who seemingly seems to have these issues in balance as he documents some of the most horrific and unimaginable human tragedies of the past few decades. But under the surface the movie has left more to be desired.

James Nachtwey, the soft-spoken subject of the film, who is often casting a chillingly blank stare, internalizes much of what he sees. The machete scars, the famine, the burning homes, the absolute feelings of horror any normal human would experience come across not in his actions but in his art. He says in the film that he had to find the fine line of being removed from the situation while still being involved. Often as journalists we say that we have no part in what we witness. But this film argues we perhaps have the biggest part. If not for what we do, who hears about war and death and hate and fear? Nachtwey stays surprisingly idealistic and optimistic, still believing peace and understanding may overcome the world. Many of his contemporaries think this is because he believes so strongly in what he does that one day, the world will take notice. Not the critics, they already have. Nachtwey is the recipient of many photography awards. Rather he wants humanity to take notice. But at what cost?

The film brings up a major issue, that in my mind is the most pressing of war journalism. At what point do we stop being journalists and start being human beings? When can you no longer stand by snapping pictures of a murder in progress and instead plead for a man’s life? It seems that many in the field of war journalism sometimes wish for a huge scene or a bloody massacre so the photos are more intense and the stories more compelling. The movie merely scratched the surface on an enormous ethical issue in the journalism community.

I do not think it is okay for journalists to stand by and watch a home get burned to the ground. I do not think it is okay to see a man get torn to pieces by a machete. I do not think it is okay to traverse a refugee camp with no sense of humility. Nachtwey seems to do a decent job at balancing the impossible task of being transparent, unbiased, and a human being. It takes someone with an incredible passion to commit their life to this profession. To engross their senses in a world of hate and destruction.

For many journalists they can do this, because they know they will go home at night. Or they know they have it better. Or, better yet, they have a family to relay on. For Nachtwey, it seemed he had little regard for these things. Putting his life on the line daily to get the best shot. He never married.

Nachtwey poured his whole self into his work and his job. This is perhaps the only way to be a great war photographer. When all your being and existence centers around such horrible tragedies, but also such great promise, you can truly focus on finding the balance between being a journalist and being a human.

Homework Details for Next Week

As a reminder, here's what's due next week by start of class:

* Post to the class blog your short response/review of the documentary War Photographer (around 500-700 words). If you missed the showing today in class, it is available on Netflix and other rental places.
* Be ready to pitch a story idea for an audio profile of a person or place, or a feature about an event.
* Watch the following videos and be ready to discuss in class:


Ira Glass on Storytelling #1
Ira Glass on Storytelling #2
Ira Glass on Storytelling #3
Ira Glass on Storytelling #4

Links from Audio Week 2

Crafting Radio's Driveway Moments


Sounds from the Appalachian String Band Festival

A Mission To Save Real Jewish Delis, A Dying Breed

Audio Postcard: The National Hollerin' Contest

On The Media: Pulling Back the Curtain

Slides From Audio Week 2

Audio Week 2 Fall2010

Homework for Next Week

PRODUCING: Man-on-the-Steet interview piece (20 points)

* Interview at least 3 people about their reaction/views on a recent news event or controversy.
* Capture at least 2 pieces of natural or ambient sound to add to the piece
* Edit together the piece, with an introduction, using Audacity
* Bring the final piece to class next Friday (skip posting to blog for now). The file name must include your name and the word "street." For instance, "jeffyoung_street.wav" would work. I will collect the files at the beginning of class.

READING: Sound Reporting, Chapter 6: Story Editing. Pages 92-119

Welcome to Audio "Slice"

A belated welcome... this is the Audio section blog, where you will post your assignments and find out information about homework.