JAC: A Journal of Composition Theory, Volume 24, Number 2, 2004 Page: 287
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Nancy K. Miller
arrested by the photograph may tend to feel this discontinuity as his own personal
inadequacy," and may just shrug off the need to act. Berger also points out the
disquieting reality that newspapers will often print horror pictures of events,
"which, editorially, they may, in some cases, continue to justify and support"
195; rpt. with revisions in About Looking.
32. See Routledge 17.
33. The reporter, Mark Lawson, argues that in the case of the New York
skyline, captions aren't necessary, or rather "the images are the captions,"
because the skyline itself was already "such a famous picture that the photos of
its destruction are purely visual" (10).
34. Marianne Hirsch's essay, "Surviving Images: Holocaust Photographs
and the Work of Postmemory," offers a probing meditation on the constant
recirculation of a limited number of iconic photographs of trauma-such as the
sign over the gates at the entrance to Auschwitz. I am indebted to her discussion
of the contradictory ways in which such images function-both as a form of
"protection and a refusal to confront the trauma of the past" (29).
35. I'm grateful to Elizabeth Abel for sending me this sticker as well as other
articles about the photograph that appeared on the West coast, and even more so
for her astute readings of this essay in several versions back.
36. The irony of this statement was brought home for me by a participant at
"Texts of Testimony: Autobiography, Life-Narratives and the Public Sphere,"
where I gave a version of this paper in August 2001; I'm grateful to Elspeth
Graham and Timothy Ashplant for inviting me to participate in their conference.
I presented this essay as the Addison Locke Roach Memorial Lecture,
Bloomington, Indiana, October 2002. I thank Susan Gubar for her role in this
invitation. I also wish to thank Shirley Lim for inviting me to present my work
in an early stage at "American Literary Studies in Asia: Transnational Teaching
and Research, International Conference," Hong Kong, January 2001.
37. Thus far, there have been no photographs from the war in Iraq that seem
likely candidates for iconicity-in part because the kinds of "collateral damage"
that produced the photographs of the Vietnam war have been kept out of
circulation. The only candidate for a widely circulated image was the toppling of
Saddam's statue that appeared early in the war-and that seemed a repeat ofother
political scenes familiar from regime change in Eastern Europe. One picture
caught on television and given a lot of play showed American soldiers draping
the flag over Saddam's head-and then quickly removing it when reminded this
was a war of liberation not occupation. But it's too early to know for sure.
In an article titled "Veil of Secrecy Around Village Hit in U.S. raid," the
following suppression of images was described with no context or explanation:
"'Stop right there,' said Specialist Arthur Meyers of New Jersey. 'If you take a
picture, I will break your camera'" (25 June, 2003, A12). Three photographs by
a Times photographer, Tyler Hicks, accompany the article, however: one of
American soldiers seen from the back at a distance, one of women and children
pushed out of their home, and one of a young Iraqi man, lightly wounded by
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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/m1/33/: accessed October 19, 2017), University of North Texas Libraries, Digital Library, digital.library.unt.edu; .