{"id":1792,"date":"2009-08-13T03:55:40","date_gmt":"2009-08-13T03:55:40","guid":{"rendered":"http:\/\/www.foto8.com\/live\/?p=1792"},"modified":"2009-08-13T03:55:40","modified_gmt":"2009-08-13T03:55:40","slug":"capas-falling-soldier-staged-photographs-and-photography-as-a-stage","status":"publish","type":"post","link":"https:\/\/www.foto8.com\/live\/capas-falling-soldier-staged-photographs-and-photography-as-a-stage\/","title":{"rendered":"Capa’s Falling Soldier: staged photographs and photography as a stage"},"content":{"rendered":"
\n

The Head of Improvisation said, \u2018The stage is not real life, and the stage is not a copy of real life. Just like the statue, the stage is only a place where things are made present. Things that would not ordinarily happen are made to happen on stage. The stage is a site at which people can access things that would not otherwise be available to them. The stage is a place where we can witness things in such a way that it becomes unnecessary for us to feel or perform these things ourselves.\u2019<\/em><\/p>\n

– from The Rehearsal<\/em> by Eleanor Catton, Granta<\/em> 2009<\/p>\n

You might have already guessed where I\u2019m going with this, but humour me and try substituting \u2018the photograph\u2019 for \u2018the stage\u2019 in the passage above. It\u2019s even more interesting in the light of recent discussions and \u2018discoveries\u2019 to substitute the longer phrase \u2018Robert Capa\u2019s iconic Falling Soldier photograph\u2019, and see where it gets you. If you\u2019re still with me, further questioning of the veracity or otherwise of the Falling Soldier image can end here. Apologies for the apparent paralepsis \u2026 it\u2019s not that the photograph itself, in all its mystical liminal beauty\/horror, is not worthy of further discussion, but rather the debate about whether or not a photograph equals truth that can be dispensed with, resurrected most recently (and thoughtfully) by Euan Ferguson in The Observer<\/a> (Sunday 26 July).<\/p>\n

\"Robert
Vu magazine, Sept. 23, 1936.  Robert Capa’s Spanish Civil War coverage with the “Falling Soldier” photograph. <\/span><\/p>\n

Ferguson argues that it matters more than ever that Capa has now been \u2018proven\u2019 to be 30 miles away from the front line of the bloody Spanish Civil War, because the viewer was being sold truth at the time and because in our media saturated times (a phrase I loathe), it\u2019s so easy to fake photographs.<\/p>\n

I\u2019d argue that it\u2019s always been easy to fake or alter photographs (see Frank Hurley\u2019s fascinating and sophisticated first world war images) and that Capa\u2019s exact whereabouts matters little, especially now. The photograph is not real life, nor is it a copy of real life.<\/em> <\/p>\n

The problem with my argument is that if it is played out to its logical conclusion, it doesn\u2019t matter if photographs are faked or not (a different argument from whether they are \u2018true\u2019, it\u2019s important to note). As I have not become, as far as I am aware, Piers Morgan\u2019s apologist, I don\u2019t exactly subscribe to this view. But it\u2019s complex. The only thing that really outraged me about Morgan\u2019s publication of the fake torture pictures in The Mirror was their blindingly obvious fakeness. The subsequent furore and Morgan\u2019s swift demise only succeeded in shifting attention away from an illegal war and despicable war crimes, which were of course all too true.<\/p>\n

The classic photojournalist\u2019s image \u2013 shot for immediate publication in a news context \u2013 needs to be verifiable. Ideally. As far as I can tell from reading around, the caption and the context changed with the publication of Capa\u2019s image first in Vu and then in Life. It was only in the latter publication that the photograph purported to be the moment of death. That the original caption stays with the photograph is essential to its future travels, the more so when it has or takes on the qualities of an \u2018iconic\u2019 image (another gargantuan debate in itself).<\/p>\n


\u00a9 Simon Norfolk. “Tailings pond of the Petkovici Dam. A mass grave was discovered dug into the earth of the dam and bodies were also thrown into the lake.” From Bleed.<\/span>
<\/span><\/p>\n

I remember the first time I saw a photograph by Simon Norfolk, an image from Bleed of a lake in Petkovici, Bosnia. My gaze was drawn across the crowded Photo London salon by the image; my interest and attention held by the caption, which detailed how hundreds of Bosniac men and boys had been executed nearby, and some of their bodies were believed to have been thrown into the lake. When, not long after, I discovered that his prints are widely collected, I remember wondering if his patrons would display the essential caption, too, and, further, would any museum? Of course not. So naturally its meaning might slip over time. And if it transpired that no bodies were in this lake, but actually in a lake thirty miles away, for example, would this detract from the power of this photograph? Or its truth? Not for me. Great images have long legacies and, to paraphrase Larkin, though their element is time, they are perhaps not suited to the long perspectives open at each instant of their lives. <\/p>\n

In many ways the ultimate actor, always in character as a kind of cross between a Hollywood leading man and a war photographer, Endre Friedmann aka Robert Capa was telling a truth of war that wasn\u2019t fake. In the way that Picasso\u2019s Guernica has become a symbol for anti-fascism (despite the fact that the city of Guernica was far from being the most devastated during the war), Capa\u2019s Falling Soldier could perhaps then simply represent the millions of young men who die fighting for a cause they believe in. People say Capa\u2019s man looks heroic. What haunts me is that he is essentially dying alone, another fact that isn\u2019t literally true.<\/p>\n

\u00a0<\/p>\n

-Max Houghton<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

In many ways the ultimate actor, always in character as a kind of cross between a Hollywood leading man and a war photographer, Endre Friedmann aka Robert Capa was telling a truth of war that wasn\u2019t fake. Max Houghton observes that “The photograph is not real life, nor is it a copy of real life.<\/em> “<\/em><\/div>\n
<\/div>\n
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