JAC: A Journal of Composition Theory, Volume 24, Number 2, 2004 Page: 281
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Nancy K. Miller
photograph through the sequel. He also needed to touch the viewer-
perhaps to reproduce in the viewer the visceral shock of the original, the
shock created by seeing a naked girl on fire. Without the touch point of
the icon, the photographer worried about the viewer who lacked the initial
traumatic response to the scandal of the image: a little girl running naked
down the road, her mouth screaming pain, accompanied by soldiers.
Without knowledge of the first image, the viewer ofthe mother and infant
photograph might merely see a puzzle: the intricate mapping of skin that
looks like an unusual piece of fabric.38 By choosing to place Kim in a
beatific pose that carried its own powerful iconographic history, McNally
doubled the iconic weight of his image.
(Figure 3: Photograph by Robert Stolarik/Gamma)
If we return now to the closing scene of Kim's Road, we can see the
intertwined strands of traumatic memory at work both through the
photographs and the monument.39 The woman the girl in the photograph
has become revisits the televised film of her childhood wounding that
recurs like the fixed sequence of a nightmare-a nightmare still alive in
her body as well as her mind. But along with Kim Phuc on her pilgrimage
to the wall, veterans and their families return to weep there as they
meditate upon their own histories; tourists deposit flowers (and flags)
reflected by the black granite's polished surface.40 As it publicly com-
Here’s what’s next.
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Association of Teachers of Advanced Composition (U.S.). JAC: A Journal of Composition Theory, Volume 24, Number 2, 2004, periodical, 2004; (digital.library.unt.edu/ark:/67531/metadc28644/m1/27/: accessed April 24, 2017), University of North Texas Libraries, Digital Library, digital.library.unt.edu; .