War Photographers Documenting Conflicts and Preserving Historical Narratives

  • Photographer Vakhtang Egiazarov Tbilisi, Georgia
Keywords: War photography, public perception, emotional impact, historical documentation, media ethics, Vakhtang Egiazarov, visual storytelling, desensitization, photojournalism, conflict reporting.

Abstract

War photography plays a pivotal role in documenting conflict, providing both historical
records and shaping public perception. Despite its historical significance, limited research has
focused on the emotional and cognitive effects of war images on public opinion and their role in
contemporary media. This study bridges that gap by examining the work of prominent war
photographers, including Vakhtang Egiazarov, through a mixed-method approach. Content
analysis of selected war photographs was conducted to identify recurring themes, while expert
interviews and a quantitative survey assessed the emotional and cognitive responses of 200
participants. Findings revealed that war photographs evoke strong emotions such as sadness, anger, and empathy, with close-up images of civilians eliciting the most intense reactions. Survey results also indicated that 67% of participants view war photographers as neutral observers, though a significant portion (33%) expressed concern about the potential for manipulation. These findings
suggest that while war photography remains a powerful tool for raising awareness and documenting history, the risk of desensitization due to overexposure requires careful ethical
considerations. Future research should explore strategies to maintain the impact of war
photography while minimizing desensitization in a rapidly evolving media landscape.

References

E. Jonisová, "The Importance and Consequences of War Photography," Cultural Intertexts, vol. 12, no. 1, pp.
68-85, 2022, doi: 10.5281/zenodo.7431616.
2. T. Müller, A. Ojala, and S. Knieper, "Empathic Reactions to Press Photographs from the War in Ukraine: A
Q-Sort Study," Frontiers in Political Science, vol. 4, 2022, doi: 10.3389/fpos.2022.1042326.
3. J. Nachtwey and L. Addario, "The Emotional Impact of Visual Storytelling in War on Public Perception,"
Total Military Insight, 2021.
4. Moeller, S. D. (1989). Shooting war: Photography and the American experience of combat.
5. Brothers, C. (2013). War and photography: A cultural history. Routledge.
6. Gervais, T. (2010). The Greatest of War Photographers. Études photographiques, (26).
7. Taylor, J. (1999). War, photography and evidence.
8. Griffin, M. (1999). The great war photographs: Constructing myths of history and photojournalism. Picturing
the past: Media, history, and photography, 122-157.
9. Cobb, J. (1962). Photographers of the Civil War. Military Affairs, 127-135.
10. Van Leeuwen, T., & Jaworski, A. (2002). The discourses of war photography. Journal of Language and
Politics, 1(2), 255-275.
11. Gervais, T. (2010). Witness to War: The Uses of Photography in the Illustrated Press, 1855-1904. Journal of
Visual Culture, 9(3), 370-384.
12. Taylor, J. (2020). War photography: realism in the British press. Routledge.
13. Taylor, J. (2020). War photography: realism in the British press. Routledge.
14. Sontag, S. (2002). Looking at war. The New Yorker, 9, 82-98.
15. Kennedy, L. (2009). Soldier photography: Visualising the war in Iraq. Review of International Studies, 35(4),
817-833.
Published
2024-09-15
How to Cite
Photographer Vakhtang Egiazarov. (2024). War Photographers Documenting Conflicts and Preserving Historical Narratives. CENTRAL ASIAN JOURNAL OF ARTS AND DESIGN, 5(4), 102-106. Retrieved from https://www.cajad.centralasianstudies.org/index.php/CAJAD/article/view/500
Section
Articles