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James Nachtwey: An Anti-war Photographer

an article by Carrie Gillespie

The photography of James Nachtwey is not for the faint of heart. His depictions of warare stark, somber, and ugly. His work in the war torn regions of Africa, Asia, the Middle East, and Eastern Europe reflects the suffering of millions. But throughout his career, Nachtwey has used these images as a means of negotiating for peace. He has put himself in the middle of some of the most dangerous conflicts in order to communicate the tragedy of war to the rest of the world.

According to Nachtwey, the power of photography lies in its ability to evoke a sense of humanity. He has said that "if war is an attempt to negate humanity, then photography can be perceived as the opposite of war, and if it is used well it can be a powerful antidote to war."

Nachtwey is committed to producing images that break through the rhetoric of the mass media, and presenting something that is authentically human, even if it is difficult to look at. Most people have come to expect a cold and detached perspective from the media.

Nachtwey has made a conscious effort to avoid this. He does not want to be perceived as an outsider who profits from the suffering of others. He has chosen to treat his subjects with respect, and in doing so has become an advocate for them. He has said that he was once a war photographer, but that he is now an anti-war photographer. Perhaps this moral stance, this attempt to give a voice to the voiceless, is what we need more of in times of war.

For more on James Nachtwey, visit www.jamesnachtwey.com. There is also a documentary about him, entitled "War Photographer," which is now available on DVD.

DISCUSSION

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Can films about war advance the cause of peace?,

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In addition to the original article on which this question was based, The Cranes Are Flying: An Old Film Gets a New Life, this question now refers to another CPNN article, James Nachtwey: An Anti-war Photographer.  Readers' comments are invited.


This report was posted on July 12, 2006.

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