A little further on was an interview with a photographer. He had captured the terrible spectacle of suffering inflicted on Louvain by the Germans. ” It was necessary to preserve indestructible, indisputable proof of all these visions, of all these aspects. it was necessary to photograph ,” he said. The image as a political issue The force of truth – presumed – of the image could not be better affirmed.
And at the same time
The political stakes of its publication. served than cell phone databaset by oneself, the armies created their own photo service in 1915, with around sixty reporters. Two years later, it was the cinema that came to complete the still image. And in the dark rooms a fictional war was staged with reconstructed battles and exclusively German deaths.
But the desire to see a little
More truth was the strongest. Major two theses on marketing potential illustrated magazines launched competitions, offering to ” pay any price for photographic material relating to the war of particular interest . ” Some soldiers themselves had “Kodak vest pockets”. They documented life in the trenches. Precious testimonies, essential for understanding what this great Based on the maxim that massacre of men was. In just under 50 years, the image has been placed at the center of tensions between government, journalist and public.
Its value, now known
Could be limitless. Economically, politically very costly. Moving betting email list images for the masses Then we remember what was called “the news”. Every Wednesday, the French went to the cinema to watch the screening of Actualités françaises, Fox Movietone, and Actualités Gaumont. Sententious voices, spectacles of a world that was, after all, happy, the major dailies critiqued these agency films every Wednesday, as one critiques the work of a famous director.