De Valkuil van Voyeurisme: Over Ethiek, Representatie en De Kracht van Afwezigheid
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2025-07-10
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nl
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This master's thesis investigates how the deliberate choice to show or withhold explicit images of conflict profoundly influences the public perception of war. It examines this central question through a comparative analysis of current Dutch military policy and the artistic practices of Adam Broomberg and Oliver Chanarin. The research employs a qualitative theoretical-literature approach combined with image analysis, drawing insights from art history, media studies, and military strategic communication.
The study reveals that the Dutch Ministry of Defence implements a highly regulated image strategy, prioritizing operational security, institutional credibility, and maintaining a professional image. This often results in a controlled and neutral visual narrative, focusing on military materiel and exercises, rather than direct combat or its consequences, as seen in the limited public imagery from the mission in Uruzgan, Afghanistan. This approach, including embedded journalism, aims to shape public and political support, sometimes presenting a more positive reality than experienced by military personnel.
In contrast, artists Broomberg and Chanarin critically engage with the representation of conflict by often intentionally avoiding explicit depictions of violence. Their series The Day Nobody Died (2008) uses abstract, non-figurative photography to subvert traditional war reporting and challenge the voyeurism often associated with conflict imagery, encouraging critical reflection from the viewer. Similarly, War Primer 2 (2011) recontextualizes existing war photos to expose underlying power structures and media manipulation, fostering a more active and self-aware spectatorship.
The thesis concludes that both the presence and absence of explicit war imagery serve as powerful instruments of framing, each with distinct motivations and effects on public perception. While military communication prioritizes safety and public relations, artistic interventions use visual choices to stimulate critical thought about the construction and consumption of war narratives. This underscores that photography, despite its perceived objectivity, is inherently a mediated construction of reality. The research highlights how the continuous circulation of war images can lead to desensitization, emphasizing the crucial role of both image creators and viewers in critically engaging with conflict representation.
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