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	<title>ShahidulNews &#187; media</title>
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	<description>Musings by Shahidul Alam</description>
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	<itunes:summary>Musings by Shahidul Alam</itunes:summary>
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	<itunes:category text="Society &#38; Culture" />
	<itunes:author>ShahidulNews</itunes:author>
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		<title>Drik to represent World Association of Newspapers</title>
		<link>http://www.shahidulnews.com/2012/02/02/drik-to-represent-world-association-of-newspapers/</link>
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		<pubDate>Thu, 02 Feb 2012 08:20:22 +0000</pubDate>
		<dc:creator>Shahidul Alam</dc:creator>
				<category><![CDATA[Bangladesh]]></category>
		<category><![CDATA[media]]></category>
		<category><![CDATA[South Asia]]></category>
		<category><![CDATA[Drik]]></category>
		<category><![CDATA[publishing]]></category>
		<category><![CDATA[WAN IFRA]]></category>

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		<description><![CDATA[Chennai, 1 February 2012 For immediate release WAN-IFRA Appoints Representative in Bangladesh To take WAN-IFRA services closer to publishers in the country The World Association of Newspapers and News Publishers (WAN-IFRA) has appointed Drik Picture Library Ltd., the leading picture &#8230; <a href="http://www.shahidulnews.com/2012/02/02/drik-to-represent-world-association-of-newspapers/">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
			<content:encoded><![CDATA[<p>Chennai, 1 February 2012</p>
<p>For immediate release</p>
<p><strong><a href="http://www.wan-ifra.org/">WAN-IFRA</a> Appoints Representative in Bangladesh</strong></p>
<p><strong>To take <a href="http://www.wan-ifra.org/">WAN-IFRA</a> services closer to publishers in the country</strong></p>
<p>The <a href="http://www.wan-ifra.org/">World Association of Newspapers and News Publishers</a> (WAN-IFRA) has appointed <a href="http://www.drik.net">Drik Picture Library Ltd.</a>, the leading picture and news agency of Bangladesh, as its representative in the country, in a move to bring WAN-IFRA’s services closer to local publishers.</p>
<p>As each country in the Indian sub-continent displays unique characteristics and challenges, the representation will help to address the specific needs of Bangladesh’s publishers and will include local media events and training.</p>
<p>“‘We are very happy to appoint Drik Picture Library as our representative in Bangladesh,” said Magdoom Mohamed, Managing Director of <a href="http://www.wan-ifra.org/">WAN-IFRA</a> South Asia. “Our relations with Dr. Shahidul Alam, Managing Director of <a href="http://www.wan-ifra.org">Drik Picture Library</a>, goes back to more than 8 years and we share some common ideas of what needs to be done to help improve the media industry in Bangladesh. We are confident that this relation will go a long way, and, with <a href="http://www.wan-ifra.org">Drik</a>’s respected position in the country, it will enable seamless rendering of all <a href="http://www.wan-ifra.org/">WAN-IFRA</a> services to the publishers in the country.”</p>
<p>Dr. Shahidul Alam said: “<a href="http://www.drik.net">Drik</a> has found a natural partner in <a href="http://www.wan-ifra.org/">WAN-IFRA</a>, as both are trade organizations with a human right&#8217;s mandate. The Newspapers in Education programme is also an area where the mutual interest in media and education of both organisations provide synergy. <a href="http://www.drik.net">Drik</a>’s pioneering role in new media and ICT creates a clear path for the partnership to utilise the dynamism&nbsp;in Asian media and propel it to new heights.”<span id="more-11373"></span></p>
<p><a href="http://www.wan-ifra.org/">WAN-IFRA</a> already has a publisher member in Bangladesh, The Independent daily newspaper.</p>
<p>This year, <a href="http://www.wan-ifra.org/">WAN-IFRA</a> will organise its twentieth annual <a href="http://www.wan-ifra.org/india2012">South Asian Conference, WAN-IFRA India 2012</a>, on September 26 and 27 at Pune, India. The conference will address the challenges and opportunities for news publishers in the region and provide a direction into the future of the news publishing industry in the region.</p>
<p><a href="http://www.wan-ifra.org/india2012">WAN-IFRA South Asia</a>, based in Chennai, India, manages services offered to the members and publishers in the South Asian region.<strong>&nbsp;</strong></p>
<p><strong>About <a href="http://www.wan-ifra.org">WAN-IFRA</a></strong></p>
<p><a href="http://www.wan-ifra.org">WAN-IFRA</a>, based in Paris, France, and Darmstadt, Germany, with subsidiaries in Singapore, India, Spain, France and Sweden, is the global organisation of the world’s newspapers and news publishers. It represents more than 18,000 publications, 15,000 online sites and over 3,000 companies in more than 120 countries. Its core mission is to defend and promote press freedom, quality journalism and editorial integrity and the development of prosperous businesses.</p>
<p><strong><em>For more information, please contact:</em></strong><em> Magdoom Mohamed, Managing Director, WAN-IFRA South Asia Pvt. Ltd., 54 K B Dasan Rd, SIET Administrative Building, 3<sup>rd</sup> Floor, Chennai 600 018, India (T:+91.44.4211 2893 F:+91.44.2435 9744). Email:infoindia@wan-ifra.org (or) Dr.Shahidul Alam, Managing Director, Drik Picture Library Ltd., House No.58, Road 15A, Dhanmondi Residential Area, Dhaka 1209, Bangladesh (T:+880.2.9120 125). Email: office@drik.net </em></p>
<p>&nbsp;</p>
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		<title>If It Bleeds</title>
		<link>http://www.shahidulnews.com/2012/02/02/if-it-bleeds/</link>
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		<pubDate>Wed, 01 Feb 2012 23:54:05 +0000</pubDate>
		<dc:creator>Shahidul Alam</dc:creator>
				<category><![CDATA[culture]]></category>
		<category><![CDATA[Killings]]></category>
		<category><![CDATA[media]]></category>
		<category><![CDATA[Media issues]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[Photojournalism]]></category>
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		<category><![CDATA[voyeurism]]></category>
		<category><![CDATA[Weegee]]></category>

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		<description><![CDATA[&#8220;Weegee: Murder Is My Business&#8221; Through September 2. International Center of Photography, New York. Weegee&#8217;s photographs are as much about Weegee as they are about crime. By James Polchin Weegee strikes again Body of Dominick Didato, Elizabeth Street, New York, August 7, &#8230; <a href="http://www.shahidulnews.com/2012/02/02/if-it-bleeds/">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
			<content:encoded><![CDATA[<p><strong>&#8220;Weegee: Murder Is My Business&#8221; Through September 2. <a href="http://www.icp.org/museum/exhibitions/weegee-murder-my-business">International</a> <strong><a href="http://www.icp.org/museum/exhibitions/weegee-murder-my-business">Center of Photography</a>, New York.</strong></strong></p>
<p><em><a href="http://www.thesmartset.com/article/article01271201.aspx">Weegee&#8217;s photographs are as much about Weegee as they are about crime.</a></em><br />
<strong>By James Polchin</strong></p>
<div><strong><img src="http://www.thesmartset.com/files/Images/Features/Ideas/Story_Image/ID_POLCH_WEEGE_AP_001.jpg" alt="" /></strong></div>
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<h3><strong>Weegee strikes again</strong><br />
<em>Body of Dominick Didato, Elizabeth Street, New York, August 7, 1936.</em></h3>
<p>In the fall of 1978, the International Center of Photography mounted the first retrospective of Weegee photographs. Reviews of the show were positive, though the reviews often centered on debates about the artfulness of Weegee’s tabloid images. The <em>New York Times</em> critic began with the very conundrum of this tension between art and news photography: “It is always faintly alarming to see the photographs of Weegee on exhibition at a museum or gallery. They were not made for exhibition but to be reproduced in tabloid newspapers.” Despite this beginning, the review affirms Weegee’s importance in American photography, and argues that his work influenced later artists such as Diane Arbus and Garry Winograd.<span id="more-11361"></span></p>
<p>Just a few months before this retrospective opened, John Berger published his essay “The Uses of Photography.” In the essay, he makes a crucial distinction between private and public photography:</p>
<blockquote><p>In the private use of photography, the context of the instant recorded is preserved so that the photograph lives in an ongoing continuity. (If you have a photograph of Peter on your wall, you are not likely to forget what Peter means to you.) The public photograph, by contrast, is torn from its context, and becomes a dead object which, exactly because it is dead, lends itself to any arbitrary use.</p></blockquote>
<p>For Berger, public photographs — these dead objects — float in a stream of images such that the subject of any particular photographed moment or event turns into a generalized reality absent of context. Like much of his writing in this period, Berger’s concerns were directed to the political force and ethical values of photojournalism.</p>
<p>This moment in the late 1970s also saw the publication of Susan Sontag’s collection of essays <em>On Photography</em>. In it, Sontag presents her focused critique that photographs have created a “chronic voyeuristic relationship” to the world around us. There was no better example of this critique than Weegee’s tabloid images of urban street life and crime scenes, all of which appeal to our voyeuristic tendencies. His revival emerged within these new, critical views of our image culture, and discussions of his work have often been enmeshed in these debates. Though his photographs haven’t changed since the 1970s, our relationship to them has.<em></em></p>
<p>Weegee: Murder Is My Business engages a different approach to the photographer’s archive. Eschewing concerns about art, the show focuses instead on the self-invention of Weegee amidst the rise of tabloid newspapers in the 1930s and ’40s. In a show whose title contains “murder,” it is not hard to think of his images as dead objects. But in the context of Berger’s ideas, I began to rethink exactly what the word “murder” refers to.</p>
<p>The title echoes Weegee’s eponymous, first gallery show in 1941 at the Photo League, which presented his tabloid photographs of crimes and gang violence. It is tempting to contemplate the many analogies between camera shots and gun shots — a revolver looms overhead in the entrance hall, aimed at a wall-sized photo of Weegee, camera in hand. What is so unsettling — and constantly compelling — about Weegee’s work has little to do with the actual murders he framed, or even how they provoke our chronic voyeurism. In wandering this show, with its focus on Weegee’s self-promoting vitality and the many displays of actual tabloids that published his work and created the aura of Weegee, I began to understand why his work has remained so engaging and debated. His images destroy so many of our sentimental ideas about photography itself.</p>
<p>The show presents a finely curated collection of photographs of the chaos of urban life, from fires to accidents to corpses and, throughout, the crowds of onlookers who revel in the scenes of destruction. Weegee, who made a career photographing the gangland crimes and gruesome tragedies of New Yorkers for the tabloid press in the 1930s and ’40s, had a certain irony about his work, and, as this show makes clear, a way of exploiting our fascination for murder.</p>
<p><img src="http://www.thesmartset.com/files/Images/Features/Ideas/Call_Outs/ID_POLCH_WEEGE_CO_011.jpg" alt="" /><br />
<span style="font-size: xx-small;">Police officer and lodge member looking at blanket-covered body of woman trampled to death in excursion-ship stampede, New York, August 18, 1941</span></p>
<p>The first gallery recreates the small studio and apartment that Weegee rented at 5 Center Market Place, just across from police headquarters. The disheveled space looks more like an abandoned subway station than a photographer’s studio. The bed is here. The small side table. Shoes at the ready. And above the bed a recreated collage of news clippings and tear sheets of the photographer’s work, yellowed and fragile as so much of the room appears. Near the recreated room hang photographs taken of the actual room, Weegee lying on the bed, cigar in hand, next to a radio and alarm clock.  While patrons were clearly intrigued by the studio recreation, it mirrored a kind of mimetic diorama that one might encounter in a Disney-inspired exhibition. While the curators refrained from a wax figure of the photographer, I did wonder if they had fallen too deeply for Weegee’s self-promotion antics.</p>
<p>These photographs were part of Weegee’s consistent self-promotion. He was not the kind of photographer to stay behind the camera. The first gallery, “Photo Detective: Weegee and the Art of Self-Invention,” presents a number of his self-portraits in the studio and at crime scenes, holding his iconic Speed Graphic camera with the large, bulbous flash. These were the cameras that would shoot a blinding light at the subject, the flash hot and intense. The effect was to create brightly lit subjects against a nearly black background, a film noir aura similar to a deer caught in the headlights.</p>
<p><img src="http://www.thesmartset.com/files/Images/Features/Ideas/Call_Outs/ID_POLCH_WEEGE_CO_004.jpg" alt="" /><br />
<span style="font-size: xx-small;">Unidentified photographer, &#8220;On the Spot&#8221; (1938)</span></p>
<p>In one self-portrait, Weegee lies on the floor of the paddy wagon, his camera pointing at us as we look inside the car. Clearly taken by someone else (a police officer, perhaps), the image looks more Hollywood publicity photo than crime shot, with Weegee playing the role of both voyeur and criminal.</p>
<p>One intriguing set of photographs show him posing as a criminal in each stage of an arrest. He was hired by the newly launched <em>Life</em> magazine to picture for them the actual police procedure. As his reputation and success grew in the 1930s, he began to stamp his photographs on the back with a circular seal that read “Credit Photo by Weegee The Famous.”</p>
<p>Born Usher Ferllig to a Jewish family in a small village in what was then Austria (and is now part of Ukraine) in 1899, he and the family immigrated to New York 10 years later, settling in the overcrowded immigrant tenements of the Lower East Side. The working-class streets and neighborhoods would eventually be the world he captured for the tabloid press, turning an eye away from the often photographed grander of the city’s rising skyline. His photographs lack the quite certitude of Paul Strand or the lyrical frames of Edward Weston. Weegee’s New York is one of chaos and confusion, of narrow streets and tenement buildings, of people caught in mid-action, recovering from an accident, fainting at the news of a love one killed. These are spectacles of theater, where one murder scene looks similar to another, where the crowd in Hell’s Kitchen nearly mirrors the spectators in Brooklyn.</p>
<p>As his ambitions to be a freelance photographer grew, he took on the moniker Weegee, suggesting both his work in a dark room as the squeegee boy, but, more likely, connoting the a mystical aura of the Ouija board that was gaining popularity in the 1920s for its supposed power of foresight. He was often at a crime scene before the police, a reality made possible by his special police radio. He once claimed that <em>Time</em> magazine paid him by the bullet. His famous 1945 photography book <em>Naked City</em>, which turned him from New York tabloid photographer to a noir poet of the urban chaos, contains a photograph of a receipt from the venerable magazine listing “Two Murders” and the payment of $35.00.</p>
<p>But the bodies of gangland killings are really not what engages us most about Weegee’s “murder” photography. Rather, it’s those photographs of spectators, of those left behind, of family members and neighborhood kids and girlfriends, whose reactions are caught in flat white light in a moment of curiosity or pain. Weegee’s photographs lack a story.  They give us a moment, a flash of light with a headline. “At an East Side Murder” captures a standing crowd along the sidewalk opposite from Weegee’s camera.</p>
<p><img src="http://www.thesmartset.com/files/Images/Features/Ideas/Call_Outs/ID_POLCH_WEEGE_CO_007.jpg" alt="" /><br />
<span style="font-size: xx-small;">&#8220;At the East Side Murder&#8221; (1943)</span></p>
<p>You notice the few faces staring back at you much more than you notice those straining necks and varied emotions of the onlookers getting a glimpse of the body, which must be quite near Weegee. In these images, with their ambiguous captions, the murder scene becomes a stage upon which Weegee captures the reactions of the audience. He was in love with spectators. <em>Naked City</em> is filled with close-up shots of onlookers in Harlem jazz clubs, in Greenwich Village bars, or in a famous series of photographs of a young girl’s reactions at a Frank Sinatra concert. These spectators illustrate a generalized public. Weegee suggested that the image and the street life blurred into one, writing in the introduction to <em>Naked City,</em> “[A] photograph is a page from life, and that being the case, it must be real.” Like walking through the city, his photos can easily slip between places and even years, for they represent an idea of the city instead of documenting a condition of its being. We can take pleasure in looking, in looking at those others looking. We can be captivated by the “life” that he presents us in all its arresting uncertainty.</p>
<p>Weegee knew that everything becomes theater in the tabloid press. He captioned his images to fit the dramas. “Balcony Seats at a Murder” presents a long shot of two buildings with their residents huddled on the fire escapes and open windows looking down as long-coated police detectives stand around the entrance to the “Italian Café” in Little Italy. The entrance is blocked by the body of man, his legs stretched onto the sidewalk, half hidden from view.</p>
<p><img src="http://www.thesmartset.com/files/Images/Features/Ideas/Call_Outs/ID_POLCH_WEEGE_CO_012.jpg" alt="" /><br />
<span style="font-size: xx-small;">&#8220;Girl jumped out of car, and was killed, on Park Ave&#8221; (1938)</span></p>
<p>Consider the most famous of these spectator images, “Their First Murder.” Captured in 1941, the photograph presents a closely framed group of school children pushing and pulling against each other, looking off to the body of Peter Mancuso, gunned down on the sidewalk as he was walking with a newspaper. But we don’t see Peter. We only see the reactions. The faces range from the anguish of the victim’s aunt in the center, to utter glee on the face of a blond boy on the left, to confused concern by two boys in the back. But it’s the girl in the foreground, staring up with knitted brows and projecting a look of concern and contemplation, that unsettles us. Weegee’s photographs often contain someone in the crowd staring back at him — back at us — and reminding us that these photographs are more about the act of looking than the subject we are looking at.</p>
<p>“Their First Murder” was reprinted many times. The exhibition usefully displays its publication in both tabloid press and later in an article in <em>U.S. Camera</em> that noted the photograph was part of the Museum of Modern Art’s  “Action Photography” exhibition, where curators called it the “greatest news photograph of the last 10 years.” Throughout, the show makes a careful effort to give context to the publication of Weegee’s work, displaying pages from tabloids and offering touch-screen monitors to explore more precisely his works and history. Soundtracks permeate the galleries. Jazz and polka music mix with the sounds of a passing elevated train and the haunting screams of 1940s police sirens. With the recreation of his studio and the touch-screen displays that playfully present history as an interactive effort, the galleries evoke more a natural history exhibition than a photography show. But such elements underscore how much this show wants to draw viewers back to the era, to give context to these images that so often float about in our visual record of mid-century New York.</p>
<p>The heart of the show is a partial recreation of Weegee’s exhibition at the Photo League in 1941. This strange show-within-a show further invites visitors to imagine the experience of Weegee’s work as it was viewed at the time. The Photo League was a small, progressive group dedicated to social documentary photography. Members turned their cameras toward the destitute and working-class of the city, capturing the specific realties of the margins of the city. While Weegee resisted a political position in his photography — he was keener on profits than political ideas — the Photo League directors appreciated the social diversity and working-class hardships in his images. The centerpiece of that 1941 show was a display of murder photographs, framed on large white boards, with drawings of revolvers in the corners, each dripping with red nail polish that Weegee applied for dramatic affect.  Elements of blood and wounds in the photos themselves were also highlighted with red nail polish, turning the images from chiaroscuro to an arresting horror evoking more sensation than artistry.</p>
<p>Eventually, the Photo League’s support faded, for Weegee’s work lacked a documentary stance. But these shows secured for him a reputation beyond tabloid journalism and encouraged him to complete <em>Naked City</em>. It was this book that brought his work to a national audience, with positive reviews in major city newspapers. It also marked the end of his work as a crime journalist of the mean streets of New York. He briefly left New York for Hollywood. He experimented with films and photographic effects, but nothing after<em>Naked City</em> compares to his work as a photojournalist.</p>
<p>Weegee’s appeal today rests in how his images reflect our contemporary notions of photographs as intangible objects of ephemeral moments. Our photographs are mostly public now, dead objects, as Berger would say, that offer a generalized account of life, found on Flickr pages, online profiles, tabloid websites. Weegee’s scenes of murder and mayhem engage us and haunt us because they fit well with our way of looking: a collage of the strange and surreal, photographs where context is often stripped away, leaving us with images that swirl in the stream of hundreds of other images, each a flash of joy or tragedy echoing other, similar images. A belief in a photograph’s uniqueness evokes a kind of sentimental nostalgia when the digital archive of our lives and the lives around us accumulates with rapid speed. Weegee’s images teach us this. I suspect they feel more contemporary to us then they did in the 1930s and ’40s. Like those haunting faces in the crime scene crowds, which beckon us with their stares, our continuing fascination with Weegee’s murders suggests all that has changed in the simple act of looking. • <em>27 January 2012</em></p>
<hr />
<p><em>James Polchin teaches writing at NYU and is the founder and editor of the site <a href="http://www.writinginpublic.com/">Writing in Public</a>.</em></p>
<p>All photographs © Weegee/International Center of Photography.</p>
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		<title>Eduardo Santiago&#8217;s Reviews &gt; Shahidul Alam: My Journey as a Witness</title>
		<link>http://www.shahidulnews.com/2012/02/01/eduardo-santiagos-reviews-shahidul-alam-my-journey-as-a-witness/</link>
		<comments>http://www.shahidulnews.com/2012/02/01/eduardo-santiagos-reviews-shahidul-alam-my-journey-as-a-witness/#comments</comments>
		<pubDate>Tue, 31 Jan 2012 19:48:29 +0000</pubDate>
		<dc:creator>Shahidul Alam</dc:creator>
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		<description><![CDATA[My rating: Shahidul Alam: My Journey as a Witness by Shahidul Alam, Rosa Maria Falvo (Editor) Eduardo Santiago&#8216;s review Jan 01, 12 Recommended to Eduardo by: Ginger Painful to read. Troubling&#8230; but beautiful and inspiring as well. Alam comes across as deeply bitter, but &#8230; <a href="http://www.shahidulnews.com/2012/02/01/eduardo-santiagos-reviews-shahidul-alam-my-journey-as-a-witness/">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
			<content:encoded><![CDATA[<h1><a href="http://www.goodreads.com/book/show/12081910-shahidul-alam"><img title="Shahidul Alam by Shahidul Alam" src="http://photo.goodreads.com/books/1320541476l/12081910.jpg" alt="Shahidul Alam by Shahidul Alam" width="100" /></a></h1>
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<p>My rating:</p>
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<div><a href="http://www.goodreads.com/book/show/12081910-shahidul-alam">Shahidul Alam: My Journey as a Witness</a><br />
by <a href="http://www.goodreads.com/author/show/5424224.Shahidul_Alam">Shahidul Alam</a>, <a href="http://www.goodreads.com/author/show/3235466.Rosa_Maria_Falvo">Rosa Maria Falvo</a> (Editor)</p>
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<p><a href="http://www.goodreads.com/user/show/2860188-eduardo-santiago"><img src="http://photo.goodreads.com/users/1256071698p2/2860188.jpg" alt="2860188" /></a></p>
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<p><a href="http://www.goodreads.com/user/show/2860188-eduardo-santiago">Eduardo Santiago</a>&#8216;s review</p>
<div>Jan 01, 12</div>
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<div><img title="4 of 5 stars, really liked it" src="http://d16kthk4voxb3t.cloudfront.net/images/layout/stars/red_star_4_of_5.png?1327986466" alt="4 of 5 stars" width="75" height="15" /></div>
<p>Recommended to Eduardo by: Ginger<br />
Painful to read. Troubling&#8230; but beautiful and inspiring as well. Alam comes across as deeply bitter, but unlike the rest of us he uses that to make this world a better place. Through his photography, his words, his actions, he brings truths to light. Beauty, too.</p>
<p>This is not a coffee table book. It&#8217;s not even mostly a photography book. It&#8217;s &#8230; autobiography? Geopolitical venting? Self-congratulation? Those but also much more. From my privileged first-world position it&#8217;s difficult to understand this book in context, to know where Alam is coming from. It&#8217;s easy to accept his perspective, to be temporarily outraged, and ultimately to do nothing because the third world (“Majority World”, as Alam insightfully calls it) is so remote.</p>
<p>Despite that, despite Alam&#8217;s occasionally difficult prose, I think this is a book worth reading and absorbing. A perspective that may be new to many of us. A reminder of so much that still needs to be fixed in this world, and that there are people fighting to fix it.</p>
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		<title>War for the Whitehouse</title>
		<link>http://www.shahidulnews.com/2012/01/27/war-for-the-whitehouse/</link>
		<comments>http://www.shahidulnews.com/2012/01/27/war-for-the-whitehouse/#comments</comments>
		<pubDate>Fri, 27 Jan 2012 17:55:20 +0000</pubDate>
		<dc:creator>Shahidul Alam</dc:creator>
				<category><![CDATA[culture]]></category>
		<category><![CDATA[Democracy]]></category>
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		<description><![CDATA[Scary, despite the mirth.]]></description>
			<content:encoded><![CDATA[<p>Scary, despite the mirth.</p>
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		<link>http://www.shahidulnews.com/2012/01/20/11303/</link>
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		<pubDate>Thu, 19 Jan 2012 19:07:24 +0000</pubDate>
		<dc:creator>Shahidul Alam</dc:creator>
				<category><![CDATA[Global Issues]]></category>
		<category><![CDATA[Human rights]]></category>
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		<description><![CDATA[Selective Outrage Media Lens, London, 18 January 2012 News that a fourth scientist in two years, Mostafa Ahmadi Roshan, had been assassinated in Iran by an unknown agency generated minimal outrage in the press. Patrick Cockburn notedin the Independent: ‘While &#8230; <a href="http://www.shahidulnews.com/2012/01/20/11303/">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
			<content:encoded><![CDATA[<p>Selective Outrage</p>
<p><a href="http://www.medialens.org/index.php?option=com_content&amp;view=article&amp;id=661:selective-outrage-iran-and-libya&amp;catid=25:alerts-2012&amp;Itemid=69">Media Lens, London, 18 January 2012</a></p>
<p>News that a fourth scientist in two years, Mostafa Ahmadi Roshan, had been assassinated in Iran by an unknown agency generated minimal outrage in the press.</p>
<p>Patrick Cockburn notedin the Independent:<br />
‘While the identity of those carrying out the assassinations remains a mystery, it is most likely to be Israel&#8217;s foreign intelligence service, Mossad…’</p>
<p>The Sunday Times published a meticulous account of the planning and execution of the attack provided by ‘a source who released details’ on the actions of ‘small groups of Israeli agents’ operating inside Iran. (Marie Colvin and Uzi Mahnaimi, ‘Israel&#8217;s secret war,’ Sunday Times, January 15, 2012)</p>
<p>Julian Borger’s article in the Guardian warnedagainst &#8216;Goading a regime on the brink.&#8217;</p>
<p>We wonder if the Guardian would have described the Iranian assassination of scientists on US or Israeli streets as ‘goading’. We also wonder if Borger would have described these as terrorist attacks.<span id="more-11303"></span></p>
<p>Using the media database Lexis-Nexis we have been able to find just one example of a UK journalist describing Roshan’s assassination as an act of terror &#8211; New Statesman&#8217;s senior political editor Mehdi Hasan writingin the Guardian. Otherwise, almost all references have been limited to the use of the word by Iranian officials behind scare quotes. (After challenges from Media Lens and other activists, Borger did publisha rare example of non-Iranian use of the term.)</p>
<p>By contrast, in October, the US accused Iran of recruiting a used car salesman, Manssor Arbabsiar, as part of a terrorist plot to assassinate the Saudi Ambassador in a restaurant in Washington, DC. In that case, journalists had no qualms about using the word terror without inverted commas. Karen McVeigh reported in the Guardian:<br />
‘Manssor Arbabsiar, a naturalised US citizen, was arrested last month, and stands accused of running a global terror plot that stretched from Mexico to Tehran.’</p>
<p>The Daily Mail:<br />
‘An extraordinary terrorist plot has been foiled &#8211; which would have seen the Saudi Arabian ambassador to the U.S. murdered on American soil.’</p>
<p>The Telegraph:<br />
‘Iranian government officials were accused by the Obama administration of plotting a string of deadly terrorist attacks on American soil.’</p>
<p>On Salon.com, Glenn Greenwald postednumerous similar examples from the US media. The alleged Arbabsiar plot was subsequently debunkedby analyst Gareth Porter.</p>
<p>As Greenwald observed, ‘accusing Israel and/or the U.S. of Terrorism remains one of the greatest political taboos’. Responding to a Media Lens reader who had suggested, not unreasonably, that ‘a terrorist is one who brings terror to another person’, Channel 4&#8242;s Alex Thomson wrote:<br />
‘Your definition of a terrorist as one bringing terror is nonsensical as it would encompass all military outfits’ including ‘the Royal Fusilliers [sic]’. (Forwarded to Media Lens, February 25, 2005)</p>
<p>Is that really so absurd? After all, following the murderous firebombing of Dresden in February 1945, prime minister Winston Churchill wrote to Bomber Command:<br />
‘It seems to me that the moment has come that the bombing of German cities simply for the sake of increasing the terror, though under other pretexts, should be reviewed.’ (Blitz, Bombing and Total War, Channel 4, January 15, 2005)</p>
<p>Presumably, then, one can argue that the RAF is a terrorist organisation.</p>
<p>Returning to last week’s assassination, while no-one has yet suggested that Iran is now obliged to bomb Washington, Borger argued:<br />
‘If Americans had been killed in the Georgetown restaurant that was supposedly the target [of the debunked Arbabsiar ‘plot’], the Obama administration would have been obliged to respond militarily.’</p>
<p>In similar vein, the aptly-named James Blitz asked in the Financial Times:<br />
‘But even if an immediate military conflict… is averted, this still leaves a wider question: how much longer can Israel and the US wait before they bomb Iran’s nuclear sites?’</p>
<p>The day after Roshan&#8217;s killing, Andrew Cummings, formerly an adviser on the Middle East and US affairs in the UK cabinet office national security staff, commented in the Guardian on ‘the risks’ of ‘this audacious approach’ &#8211; he meant the murdering of scientists. The sub-heading explained:<br />
‘The death of another Iranian scientist has led to criticism of such actions, but Tehran&#8217;s refusal to co-operate leaves little alternative.’</p>
<p>Cummings clarified:<br />
‘What many people fail to recognise, though, is that a covert campaign, while rife with physical, diplomatic and legal risks, is the lesser of many evils.’</p>
<p>And yet, as Patrick Cockburn noted, ‘the US has found no evidence Tehran is trying to make a nuclear bomb, though US politicians [and US-UK journalists] often speak as if this was an established fact&#8230;<br />
‘The US National Intelligence Estimates on Iranian nuclear progress, the collective judgement of all the US intelligence organisations, said there was no evidence Iran had been trying to build a bomb since 2003. The Defence Intelligence Agency concluded that Iran&#8217;s nuclear weapons programme at that time was directed against Saddam Hussein&#8217;s Iraq and when he was overthrown by the US, it was ended.’</p>
<p>Compare this with Blitz’s version:<br />
‘Some western intelligence agencies believe Iran will bide its time a little longer and enrich more uranium – but will not take the big strategic decision to race for the bomb in 2012. Still, in every other respect, the auguries are not good.’</p>
<p>Again by contrast, Greg Thielmann, a former US State Department and Senate Intelligence Committee analyst, toldveteran investigative journalist Seymour Hersh last year: ‘there is nothing that indicates that Iran is really building a bomb’.</p>
<p>Readers might respond that Cummings and Blitz are entitled to their baseless views, and the Guardian and FT are perfectly entitled to publish them – that’s what free speech is all about. We agree.</p>
<p>But a problem arises when we try to imagine the Guardian publishing a piece justifying the Iranian killing of a US scientist on a US street one day after he had been murdered. And try imagining the FT hosting an opinion piece that asked: ‘How much longer can Iran wait before launching its bombers against the US and Israel?’</p>
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		<title>‘Get Out, Black Animals’: what happened in Tawergha, Libya</title>
		<link>http://www.shahidulnews.com/2012/01/20/get-out-black-animals-what-happened-in-tawergha-libya/</link>
		<comments>http://www.shahidulnews.com/2012/01/20/get-out-black-animals-what-happened-in-tawergha-libya/#comments</comments>
		<pubDate>Thu, 19 Jan 2012 18:56:21 +0000</pubDate>
		<dc:creator>Shahidul Alam</dc:creator>
				<category><![CDATA[Human rights]]></category>
		<category><![CDATA[media]]></category>
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		<category><![CDATA[Migration]]></category>
		<category><![CDATA[Military]]></category>
		<category><![CDATA[People]]></category>
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		<category><![CDATA[ethnic cleansing]]></category>
		<category><![CDATA[Libya]]></category>
		<category><![CDATA[media bias]]></category>
		<category><![CDATA[NATO]]></category>
		<category><![CDATA[racism]]></category>
		<category><![CDATA[Tawergha]]></category>

		<guid isPermaLink="false">http://www.shahidulnews.com/?p=11299</guid>
		<description><![CDATA[Media Lens, London, 18 January 2012 One might think that a corporate media system would act independently of the state – there is no formal mechanism of control. But as the ingrained bias sampled above indicates, this often turns out &#8230; <a href="http://www.shahidulnews.com/2012/01/20/get-out-black-animals-what-happened-in-tawergha-libya/">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
			<content:encoded><![CDATA[<p><a href="http://www.medialens.org/index.php?option=com_content&#038;view=article&#038;id=661:selective-outrage-iran-and-libya&#038;catid=25:alerts-2012&#038;Itemid=69">Media Lens, London, 18 January 2012</a></p>
<p>One might think that a corporate media system would act independently of the state – there is no formal mechanism of control. But as the ingrained bias sampled above indicates, this often turns out not to be the case. With regard to human rights, for example, corporate media typically do not simply pick a subject and lavish it with attention. Rather, political power selects an issue, frames the coverage, and media corporations jump on the bandwagon.</p>
<p>Type a household name like ‘Halabja’ into the UK media database search engine Lexis-Nexis, for example, and it produces more than 1,800 references to Saddam Hussein’s 1988 gassing of Kurds. Similarly, the words ‘Srebrenica’ and ‘massacre’ generate nearly 3,000 hits. Both issues have been afforded vast, impassioned coverage.</p>
<p>In truth, for Western commentators, the importance of these horrors is most often rooted, not in the scale of suffering inflicted, but in their utility for justifying the West’s military interventions. Thus an editorial<http://www.independent.co.uk/opinion/leading-articles/leading-article-libya--the-mission-that-crept-2327706.html> in the Independent observed of Libya:<br />
‘Concern was real enough that a Srebrenica-style massacre could unfold in Benghazi, and the UK Government was right to insist that we would not allow this.’ (Leading article, ‘The mission that crept,’ Independent, July 29, 2011)<span id="more-11299"></span></p>
<p>A Times editorial commented:<br />
‘Without this early, though sensibly limited, intervention, there would have been a massacre in Benghazi on the scale of Srebrenica.’ (Leading article, ‘Death of a dictator,’ The Times, October 21, 2011)</p>
<p>Of course media concern for human rights could be sincere – journalists are human beings, after all, and human beings often do care about the killing of civilians. But then the record requires some explanation.</p>
<p>Consider the massacre of 53 Libyans at the hands of ‘rebel’ fighters in Sirte last October. The Daily Telegraph reported<http://www.telegraph.co.uk/news/worldnews/africaandindianocean/libya/8846720/Libya-will-be-a-moderate-Muslim-nation-countrys-interim-leader-insists.html>:<br />
‘Human Rights Watch said 53 people appeared to have been shot dead in a hotel in the centre of the city when it was under the control of fighters from Misurata. The badly decomposed bodies, some with their hands bound behind their backs, were found in a garden of Hotel Mahari.’ (Ben Farmer, &#8216;Libya will be a &#8220;moderate&#8221; Muslim nation, country&#8217;s interim leader insists,’ Telegraph, October 25, 2011)</p>
<p>According to Lexis-Nexis, the word ‘Mahari’ generates a total of eight articles mentioning the massacre across the entire UK press, with one mention since October. Widening the search to ‘Sirte’ and ‘killing’ produces a few additional mentions.</p>
<p>Or consider the fate of the dark-skinned Tawergha people, former slaves brought to Libya in the 18th and 19th centuries. Until recently, some 31,000 of them lived in a coastal town, also named Tawergha, 250 km east of the capital Tripoli. The UN news agency IRIN reported <http://www.irinnews.org/report.aspx?reportid=94455> the ethnic cleansing of the town by Nato-backed forces:<br />
‘Their town sits empty &#8211; doors hanging open and homes burned; the sign leading to the city has been changed to New Misrata and its population told not to return.’</p>
<p>As for the people:<br />
‘In an abandoned Turkish company compound on Airport Road in Tripoli, more than 1,500 displaced Tawergha spend their days brushing away flies and watching their children play with toy guns amid piles of rubbish.</p>
<p>‘Here, women and children have huddled around on the uncovered mattresses they sleep on, weeping. They arrived in early November after a physically and emotionally draining journey from Tawergha, having been displaced by armed men every time they settled somewhere new.</p>
<p>‘Every one told of a father, son or brother who is either dead or in jail…</p>
<p>‘[One] young woman told stories of Tawergha detainees receiving electric shocks, having cold water poured on them and being burned with cigarettes by the revolutionaries from Misrata who were holding them. “This is Abu Ghraib, not Libya!&#8230; We have done nothing wrong. If they continue to beat us and attack us for no reason, it will become a cycle,” she said.’</p>
<p>A rare, excellent mainstream article by Åsne Seierstad in The Times supplied additional details:<br />
‘&#8221;Slaves,&#8221; says graffiti on a wall. On a road sign, the town&#8217;s name has been scribbled over. &#8220;Misrata,&#8221; it says now. The commander of the local victors, Ibrahim al-Halbous, had already said it: &#8220;Tawergha no longer exists, only Misrata.&#8221;’</p>
<p>The article continued:<br />
‘&#8221;Brigade for cleansing of black slaves,&#8221; proclaims one scribbled message on a wall along the road to Misrata. &#8220;Hairdresser. Free haircut,&#8221; says another. Large sections of the town are in ruins after the battles.’</p>
<p>Seierstad found that Tawerghans were still not safe even in Tripoli:<br />
‘Seven or eight people live in each room, in corridor after corridor, barrack after barrack.</p>
<p>‘But the construction site has no guards, and the avengers from Misrata can enter even here. They arrive at night. The men sleep fully clothed, ready to flee. Some nights earlier, an armed gang arrived at 2am. &#8220;You are all going to die,&#8221; they shouted. &#8220;Get out, black animals.&#8221;’ (Åsne Seierstad, ‘Four months ago, 30,000 people lived in this town. So where did they go?,’ The Times, December 3, 2011)</p>
<p>Last summer, the then Prime Minister of Libya’s National Transitional Council, Mahmoud Jibril, said:<br />
‘When it comes to Tawergha, in my view, this is nobody&#8217;s business but the people of Misrata&#8217;s. This cannot be dealt with according to theories and textbooks about national reconciliation in South Africa, Ireland or Eastern Europe.’ (Seierstad, ibid.)</p>
<p>Using a different spelling, the Telegraph has so far supplied one sentence: ‘Tawarga has been forcibly emptied of residents by rebels and looted.’ (Richard Spencer; Ruth Sherlock; Rob Crilly, ‘Gaddafi&#8217;s son flees to Niger as rebels make more gains,’ Telegraph, September 12, 2011). The sentence doesn’t appear in the online version<http://www.telegraph.co.uk/news/worldnews/africaandindianocean/libya/8756392/Libya-Gaddafis-son-Saadi-flees-to-Niger.html>.</p>
<p>A Guardian article<http://www.guardian.co.uk/world/2011/sep/13/tawarga-fires-blood-libyan-town?INTCMP=SRCH> barely hinted at the ethnic cleansing, reporting merely that Tawarga’s ‘mostly black population fled in August when rebel forces captured it’. Chris Stephen described the ethnic cleansers&#8217; attitude towards Tawargans as a ‘gripe’. Seumas Milne mentioned <http://www.guardian.co.uk/commentisfree/2011/oct/26/libya-war-saving-lives-catastrophic-failure> Tawerga in a single sentence.</p>
<p>According to Lexis-Nexis, the Independent has published two articles focusing on the atrocity &#8211; a substantial piece in September<http://www.independent.co.uk/news/world/africa/after-the-war-the-vengeance-as-rebels-seek-out-traitors-2360918.html> and a further 102 words in November<http://www.independent.co.uk/news/world/africa/libya-eyewitness-who-gave-me-permission-to-run-a-prison-i-dont-need-it-6267105.html>, totalling 867 words.</p>
<p>Curiously, The Times has published the most significant mentions. In addition to Seierstad’s piece, Andrew Gilligan published a substantial report: ‘The ghost town where rebels took their revenge’ in September. (The Times, September 11, 2011)</p>
<p>A later article reported ‘The expulsion of the entire 30,000 population of Tawarga, a satellite town of Misrata…’ (Libya Tom, &#8216;Murder and rape campaign brings revenge to ghost town,’ The Times, September 29, 2011)</p>
<p>James Hider also commented briefly in October:<br />
‘The town of Tawarga was accused by neighbouring Misrata of siding with Gaddafi&#8217;s forces, and is now all but deserted and largely ruined.’ (James Hider, ‘Where there was unifying hatred, now there is a vacuum,’ The Times, October 22, 2011)</p>
<p>Since Seierstad’s article on December 3, there have been no mentions in any UK newspaper of this clear case of ethnic cleansing by Western-backed forces. As ever, media outrage splutters and falls away when the West is implicated in a crime against humanity. And as ever, this could hardly contrast more starkly with the incandescent &#8216;Something must be done!&#8217; outrage in response to the crimes of official enemies. Lexis-Nexis finds no mention of any British or American politician commenting on Tawergha&#8217;s fate, and finds no mentions in any editorials. Now imagine the coverage if Iran, or Syria, or North Korea had been responsible.</p>
<p>Commentators sometimes lament the fact that the &#8216;mainstream&#8217; media system is ‘controlled’ by profit-seeking corporations. It is not; it is made up of corporations. But that doesn&#8217;t tell the whole story. Media companies are key elements of a corporate system that utterly dominates politics.  In reality, US-UK military interventions are state-corporate military interventions. It ought to come as no surprise that the corporate media propagandises on behalf of its own interventions and works hard to hide the ugly consequences from a public with the power to resist.</p>
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		<title>What really links the &#8216;urinating marines&#8217; video with Abu Ghraib</title>
		<link>http://www.shahidulnews.com/2012/01/17/what-really-links-the-urinating-marines-video-with-abu-ghraib/</link>
		<comments>http://www.shahidulnews.com/2012/01/17/what-really-links-the-urinating-marines-video-with-abu-ghraib/#comments</comments>
		<pubDate>Tue, 17 Jan 2012 06:37:20 +0000</pubDate>
		<dc:creator>Shahidul Alam</dc:creator>
				<category><![CDATA[culture]]></category>
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		<description><![CDATA[In the digital age, people document and share everything – even insults to the fallen Jonathan Jones guardian.co.uk, Thursday 12 January 2012 18.17 GMT A still from a YouTube video allegedly showing US marines urinating on the bodies of dead Taliban &#8230; <a href="http://www.shahidulnews.com/2012/01/17/what-really-links-the-urinating-marines-video-with-abu-ghraib/">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
			<content:encoded><![CDATA[<div id="main-article-info">
<h1>In the digital age, people document and share everything – even insults to the fallen</h1>
<p><a href="http://www.guardian.co.uk/profile/jonathanjones" rel="author">Jonathan Jones</a></p>
<p><a href="http://www.guardian.co.uk/">guardian.co.uk</a>, <time datetime="2012-01-12T18:17GMT" pubdate="">Thursday 12 January 2012 18.17 GMT</time></p>
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<p><img src="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2012/1/12/1326387389534/Video-still-from-YouTube--006.jpg" alt="Video still from YouTube video" width="460" height="276" /></p>
<div>A still from a YouTube video allegedly showing US marines urinating on the bodies of dead Taliban soldiers. Photograph: Reuters</div>
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<p>It is as much a document of the information age as a horror of war. <a title="" href="http://www.guardian.co.uk/world/2012/jan/12/american-marines-accused-war-crimes">A video anonymously posted on YouTube this week</a> apparently shows four US marines urinating on the corpses of Afghans. They pose for a video camera held by a fifth marine, and perform their great deed against the dead with what looks like self-consciousness. They are doing it to be seen, in full awareness they are being filmed. Being filmed, and posting it for the world to watch, might actually be the point of the exercise.<span id="more-11278"></span></p>
<p>Comparisons with previous incidents involving American forces, such as<a title="" href="http://www.guardian.co.uk/gall/0,8542,1211872,00.html">the torture in Abu Ghraib prison in Iraq</a>, seem unavoidable although there is actually a difference between torturing and abusing living prisoners, as happened at Abu Ghraib, and desecrating the bodies of the dead. Goya, in the print he called <a title="" href="http://eeweems.com/goya/great_deeds.html">Great Deeds Against the Dead</a>, captured the futility and cowardice of violence against fallen enemies (assuming these are Taliban fighters and not civilians) and exposed, in the Napoleonic wars, the dirty secret that the dead do get mistreated amid the hate and anger of armed conflict.</p>
<p>Surely the truly striking parallel with Abu Ghraib is not in the nature of the crimes, but the urge to photograph them: and therefore to share them. Perhaps in future, guns will come with an in-built camera and a button that lets you instantly share the moment of battle. These images of a ritual insult to the fallen make their appearance in a world even more plugged into communication than it was in 2004, when the photographs of Abu Ghraib prison guards posing with persecuted prisoners emerged. At the time I remember thinking about those pictures in terms of horror films, trying to imagine the context in which people might so casually abuse power and so insouciantly photograph their own crimes.</p>
<p>But now it no longer seems surprising that violence and cruelty are self-documented in this way. What is not shared, nowadays? What is too private or shameful to put on YouTube? The video of urinating soldiers does not even seem that extreme or shocking – it just takes its place among all the other videos everyone is watching and tweeting about.</p>
<p>Soldiers, it is true, documented their crimes with a camera long before the invention of digital video. Jürgen Stroop, the SS commander who led the crushing of the Warsaw ghetto uprising in 1943, kept <a title="" href="http://www.scrapbookpages.com/poland/warsawghetto/WarsawGhettoUprising.html">a photograph album that visually celebrates his achievement. It is the source of one of the most famous pictures of the Holocaust, of a Jewish boy putting up his hands as he is arrested. Another photo album of the Warsaw ghetto taken by a German soldier calls itself a &#8220;cultural document for Adolf Hitler&#8221;. What</a> did the first &#8220;professional&#8221; photographers of war think they were doing anyway, for that matter, back in the 19th century? When<a title="" href="http://www.archives.gov/education/lessons/brady-photos/">Matthew Brady</a> and other photographers put their equipment in covered wagons and followed the armies into battle in the American civil war, they were not sent by newspapers or the war office. They simply saw an opportunity and took it.</p>
<p>Right from the start, you could argue, war photography was disreputable, a dirty business, tainted by voyeurism. The desire to see the dead of battle was starkly served by Brady. Since then, war photography has become a profession, even an art, regulated unofficially by editors&#8217; decisions of what is and is not to be shown – but the voyeuristic impulse is still there in our appetite for photographs of war.</p>
<p>In that sense, what we are seeing here is an example of the democratisation of photography and film in the digital age. Just as anyone caught in a revolution or riot can take a picture on their phone and get it circulated before professionals are on the scene, so it seems these soldiers filmed their own ugly deeds for themselves. For Matthew Brady, war was a fact of horror to be shown. This video suggests it is now a scene of horror to be enacted so that it can be shared and talked about.</p>
<p><a href="http://www.shahidulnews.com/2012/01/15/have-a-nice-day-buddy-what-the-actions-of-a-few-us-marines-say-about-us-all/">Earlier article</a></p>
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		<title>American Activists and the Birth of Bangladesh</title>
		<link>http://www.shahidulnews.com/2012/01/02/american-activists-and-the-birth-of-bangladesh/</link>
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		<pubDate>Sun, 01 Jan 2012 18:12:57 +0000</pubDate>
		<dc:creator>Shahidul Alam</dc:creator>
				<category><![CDATA[1971]]></category>
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		<description><![CDATA[Subscribe to ShahidulNews Podcast Play in New Window &#124; Download Forty years ago this month, the country of Bangladesh declared its independence from Pakistan. Then-President Richard Nixon supported Pakistan during the war because he wanted to prove the US would stand &#8230; <a href="http://www.shahidulnews.com/2012/01/02/american-activists-and-the-birth-of-bangladesh/">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
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<p>Forty years ago this month, the country of Bangladesh declared its independence from Pakistan. Then-President Richard Nixon supported Pakistan during the war because he wanted to prove the US would stand by an ally.</p>
<p>Many Americans disagreed with that stance. And when a ship headed for Pakistan with military equipment and ammunition was set to stop at a US port, one group of Americans felt it was necessary to get involved.</p>
<p>“I was ready to risk my life there,” says 78-year-old Richard Taylor. “I just wanted to get in front of that ship.”<span id="more-11182"></span></p>
<p>In July 1971, Taylor and a group of protesters used canoes and kayaks to try and block the Pakistani freighter Padma from reaching the Port of Baltimore.</p>
<p>The ship was coming from Canada, bound for Pakistan. It was said to be carrying military equipment and ammunition, presumably to aid the government in its war with what was then called East Pakistan.</p>
<p>The US had ordered an arms embargo on new shipments to Pakistan. But newspapers reported that Pakistani freighters like The Padma were still visiting US ports to load military equipment that had been purchased before the embargo.</p>
<p>Taylor’s flotilla of two canoes, three kayaks and a rubber raft left from Baltimore’s Broening Park. The police and Coast Guard tried to stop it. But Taylor says the group was undaunted.</p>
<p>“One of key parts of this was that the US government was sending military aid to the West Pakistani government that was doing the invasion,” says Taylor. “So that made it poignant. People were suffering thousands of miles away, but our government was helping that suffering to happen.”</p>
<p>Timmy Aziz knew that suffering first hand. He grew up in East Pakistan. He was 10 when war broke out. He now teaches environmental design here in Baltimore.</p>
<p>“It’s really impressive how far they would have had to have gone,” says Aziz. “They would have been way in the middle of the water and completely in harm’s way. This massive freighter and these tiny little canoes, which would easily get washed away in the wake of the ship that size.”</p>
<p>Forty years on, Bengalis are expressing a renewed interest in their country’s independence movement. One of them is New Yorker Aris Yousuf. He finds the canoe blockade story so fascinating that he’s making a documentary on it.</p>
<p>“I wanted to see if I could make a film about the history of 1971, Bangladesh’s independence war and what happened in the US and be able to put it together from the people who participated at that time,” says Yousuf.</p>
<p>What happened that time in July 1971 was that the US Coast Guard foiled Richard Taylor and his friends. The Padma made it into the harbor; it was eventually loaded and left. The following month, protesters expanded their actions to include any Pakistani ship trying to dock in the US, regardless of its cargo. And they enticed longshoremen at the Port of Philadelphia to join the boycott.</p>
<p>“The cause had a heart, had a deep heart,” says 64-year-old Elliot Gevis. “And there were tremendous atrocities that were going on.”</p>
<p>Today, Gevis is a pediatrician. But back in 1971, he worked the docks in Philadelphia. He learned about the war in East Pakistan and the canoe protest from flyers, and helped convince other longshoremen not to load ships. The first freighter affected was The Al-Ahmadi. Richard Taylor and other protesters again used canoes and kayaks to try and block the ship. When it ran the blockade, Gevis and other dockworkers refused to unload it.</p>
<p>“Not everybody was supportive of that,” Gevis recalls. “But then again, they did respect unions. And they did respect not crossing picket lines, things of that sort. But at the same time, they had to pay bills and feed families. That was a big consideration.”</p>
<p>When the ship pushed off, no cargo had been loaded or unloaded.</p>
<p>After four more months of intense protests–and picketing in front of the White House– the US government finally ended all arms exports to Pakistan. It marked the end of one of the more unusual protest movements in America’s history.</p>
<p>“We’ve been just humbled by people who are Bengalis saying we couldn’t have done it without this movement here,” says Phyllis Taylor, Richard’s wife.</p>
<p>She, too, was involved in the protests.</p>
<p>“Not us necessarily, but a small group of committed people giving us hope, as Dick said, in the jungles that you could make a change.”</p>
<p>After nine months of fighting, East Pakistanis won the war. Their prize: a country now known as Bangladesh.</p>
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		<title>BANGLADESH PHOTOBOOK READER PRIZE</title>
		<link>http://www.shahidulnews.com/2011/12/27/bangladesh-photobook-reader-prize/</link>
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		<pubDate>Tue, 27 Dec 2011 16:49:04 +0000</pubDate>
		<dc:creator>Shahidul Alam</dc:creator>
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		<description><![CDATA[Subscribe to ShahidulNews Shahidul Alam’s ‘My Journey as a Witness’: book excerpt and giveaway Posted on December 21, 2011 A retrospective publication dedicated to the work of renowned Bangladeshi photojournalist and social activist Shahidul Alam has been published by Skira. We &#8230; <a href="http://www.shahidulnews.com/2011/12/27/bangladesh-photobook-reader-prize/">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
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<h2>Shahidul Alam’s ‘My Journey as a Witness’: book excerpt and giveaway</h2>
<div>Posted on <a title="3:55 pm" rel="bookmark" href="http://artradarjournal.com/2011/12/21/shahidul-alams-my-journey-as-a-witness-book-excerpt-and-giveaway/">December 21, 2011</a></div>
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<p>A retrospective publication dedicated to the work of renowned Bangladeshi photojournalist and social activist Shahidul Alam has been published by Skira. We have a copy of the book to give away to one lucky reader.</p>
<p><strong>Head on down past the fascinating opening essay from the book excerpted below, put together by curator and writer Rosa Maria Falvo, to find out how to win!</strong></p>
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<p><img title="©Shahidul Alam - 'Ilish fishing'.p.108" src="http://artradarjournal.com/wp-content/uploads/2011/12/%C2%A9Shahidul-Alam-Ilish-fishing.p.108.jpg" alt="Shahidul Alam, 'Ilish fishing'. Image from book. © Shahidul Alam." width="620" height="423" />Shahidul Alam, &#8216;Ilish fishing&#8217;. Image from book. © Shahidul Alam.</p>
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<blockquote><p><strong>Impossible is nothing</strong></p>
<p>Few Westerners have any understanding of Bangladesh’s complicated history or even know exactly where it is on a map. And fewer still have experienced what this country has to offer. I first went there in 2008, travelling to Dhaka from Kolkata by bus across the Indian-Bangladeshi border at Benapole, and after our first ‘luxury’ bus ripped a hole in its undercarriage as the driver forced the ferry ramp prematurely, we jumped onto another making its way into the belly of a night ferry, crossing the Padma (‘lotus’) River, the main channel of the great Ganges (Ganga) River originating in the Himalayas. Immediately surrounded by a smiling and curious crowd, it felt exhilarating to be suddenly thrust into the enduring dynamism that is daily life in Bangladesh. Washing over my vague but cemented notions of disaster and poverty, the reality for me was inspiring, within the chaos and calm combined. I have since travelled southwards to Chittagong’s great seaport, and then north into Bogra, through Dinajpur, visiting temples and monasteries, onto Rangpur, stopping for tea with indigo farmers, heading west to Thakurgaon, giving way to elephants on the village roads, and across India on our way to Biratnagar, Nepal. Increasingly, I am struck by the pervading ‘impossible is nothing’ approach to life here, and by the magnanimity of the people of Bangladesh.</p>
<p>We met a cheeky bearded man on a bicycle, busily navigating his schedule in a city that relentlessly thwarts any plans one might have to move promptly from A to B. To describe Dhaka’s serious traffic problems is to begin with sheer understatement, and yet the locals carry on undeterred. We walked into his photo agency full of energetic youth, with an obvious respect for their teacher, in positions of responsibility that showed they belong.</p>
<p>Working alongside Shahidul Alam is an extraordinary experience. There is no self-righteous arrogance, impatient hustling, or delusions of grandeur. Here is a true humanitarian; honest, hard-working, and committed to the cause; a talented man who is loved by many in a social, political and environmental system that is bursting at the seams; one that needs overhauling; and one he has been intimately engaged with for over thirty years. In the most unlikely conditions, with the odds (and sometimes the guns) pointed squarely against him, he manages to get the job done with a centeredness that inspires others to do the same. And what exactly is that job? Born from a simple premise and pitted against a seemingly impossible challenge, he dares to turn perceptions around and broaden our thinking, to rebalance the dynamics of communicative power, to redistribute imagery that impacts contemporary culture, and to respect geographic diversification. Not one to shy from the harshest realities in his country, which are best understood by those living them, Alam is educating for a new vision, which enlightened photography aspires to convey. If we consider the classic vehicles of social control, what happens when multinationals and politicians representing eight countries monopolise a world whose ‘majority’ often stands like an elephant tied to a rope? This majority will inevitably find its strength and something practical and peaceful can be done to help recognise it.</p></blockquote>
<p><span id="more-11178"></span></p>
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<p><img title="Brahmaputra" src="http://artradarjournal.com/wp-content/uploads/2011/12/%C2%A9Shahidul-Alam-Buriganga-aerial.p.107.jpg" alt="Shahidul Alam, 'Buriganga aerial'. Image from book. © Shahidul Alam." width="620" height="415" />Shahidul Alam, &#8216;Buriganga aerial&#8217;. Image from book. © Shahidul Alam.</p>
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<blockquote><p>This time as we sailed along three rivers towards Chandpur for a Chobi Mela 2011 night-long party and the next day marched in the streets of Dhaka, alongside spirited trumpeters and dancing students, firing on a second wind of excitement, it was obvious that this is not just another photography biennial. An entire community enjoys a natural reciprocity, which the West, despite its organising powers and privileges, often labours to simulate. And while it boasts hybrid cultures and ancient histories, Bangladesh has virtually no tourism. Surrounded by giants India and China, not a geopolitical ‘hotspot’ for the moment – only some of its natural resources are coveted – ‘minority’ perceptions rest on persistently negative press – tragedy, famine, corruption – and only the well-informed have adopted some of the ingenious ideas, like fair trade and microcredit, which have come from this particular ‘majority’. Surely discussions about ‘emerging markets’ can accompany debates on emerging ‘imaginaries’, given that photography plays a critical role in shaping ‘globalised thinking’. We know that little can match the persuasive power of an image, accessible to all. For Shahidul Alam this is much more than a vehicle for documentation. His camera manifests his mission: to allow the storytellers to do their own talking. His message is not simply to challenge systems, but to work with them, restructuring a shared set of principles. His art is certainly political. Over many cups of tea and precarious rides through Dhaka, even sitting on the rooftop of the Duomo in Milan, he has explained to me in many ways that if he were not doing this work he would find it difficult to live with himself.</p>
<p>Intimacy and community empowerment are the keys here. Inviting us into his home, across the threshold of personal experience, this book traces the life of an inclusive activist whose path is open to all. Piloting through ignorance of all kinds – from the most educated minds to the most deprived – his compass relies on real social awareness. He is not the protagonist. This imagery is not staged reality. Often the professional camera is used as a transportation device, as if the photographer were everybody’s favourite uncle or aunt, travelling the globe to bring home adventures experienced vicariously. Contrary to traditional journalism, Alam is not wholly objective or detached. Indeed, he enters into the lives of these people and they enter into his. As we have all at some point intuited, despite our collective conditioning, there are multiple, constantly elusive truths, which forced impartiality struggles to reconcile, often steering us far from understanding. Concerned with the lack of pluralism, his photography movement is made possible alongside and despite the absurdities continuing to plague humanity in the 21st century. Alam’s work represents sustained, internal intervention – a pictorial education – that reaches out to his local audience and the rest of the world. How do you touch people and generate ideas? How do you challenge an insentient ‘culture of consent’? How do individuals and groups break hegemonies? If politics, education, and media are the muscular headquarters of external power, it is no coincidence that Shahidul Alam works across all three.</p>
<p>As photojournalism experiences a renaissance, Alam’s school maintains a passionate fidelity to its own subject matter. Its Eastern hospitality and the bridges it has built may appear at odds with the Western dominance it clearly opposes. And there are those on both sides of the establishment who have tried to pigeon-hole its initiatives. But its strategy is free to ask other questions and make different claims. Sometimes reflective, sometimes evidentiary – Crossfire was pivotal in a series of criminal trials – sometimes visual protest and even archaeology of self – it is reorganising cultural archives and making community photography a vernacular aesthetic. Indeed, Alam believes this process has “the power to validate history”. Not only does it bear witness to experiences shared, but also to the values at the core of local realities – re-sensitising an otherwise anesthetised global imagination.</p>
<p>Born in Dhaka in 1955, formally educated in the United Kingdom in 1972, he returned to Dhaka in 1984 to begin a new life in this field. He is quick witted and free thinking. He has met with torture, poverty, and discrimination, as he has been blessed with generosity, support, and recognition. And he refuses to be silenced. It is easy to go into accolades about such an accomplished and charismatic photographer, but it is also important to note that Shahidul is very much a product of and a catalyst within a resourceful and resilient society. The tears that well up in his eyes when he describes the fisherman who went straight back into the arms of the sea that took his family in its fury, or the elderly rickshaw wallah dragging his exhaustion up the daily mound of survival, are not because he is troubled – these people have won against the odds many times over – but come from true empathy that shares in the spirit driving these men and women forward. The laughter that escapes him when he recalls how his English teacher once pulled his ear because he did not want philosophers in his classroom, now recognises the ironies everywhere.</p>
<p>Shahidul’s example and messages are timely and raise an important curtain on Bangladesh; beckoning discovery, with 160 million people, and the seventh most populous nation on earth. A place where politics, art, and journalism naturally converge, and one that cannot remain peripheral to our vision of the planet. Asia itself is at the epicentre of a creative surge to elaborate original and coherent expressions, and its efforts are coming from ‘below’ – percolating in the viscera of artists calling for a reinterpretation of what we might now call ‘image power’, in the face of what they have long known as ‘cultural imperialism’.</p>
<p>Alam’s major photographic series: migration, the Brahmaputra, the struggle for democracy, the Naxalites, and Crossfire, have specific links to his ongoing commitments to human rights, global inequalities, and environmental issues. His style is sometimes confrontational, often celebratory, and insists on an equal footing between photographer and subject, among photographers themselves, photographer and global media, and subject and audience – providing mirrors, raising debates, and chronicling a home-grown social movement in which photography is embedded.</p>
<p>To what extent can art contribute to transformation in two different and even opposing worlds? John Dewey viewed the aesthetic dimension as a direct measure of social wellbeing. Rabindranath Tagore’s legendary vision saw that “… fortunately for man, the easiest path is not his truest one … and when we shall be in the position to bring about a reconciliation of these two great worlds [East and West]… Then will come to an end the one-sided dominance….”</p>
<p>Shahidul Alam is a warrior who has dedicated his life’s work to this battle and it is already nurturing an exciting new generation of talented co-warriors. Having genuinely set the stage for constructive change, they are more than likely to achieve it.</p>
<p><strong>© Rosa Maria Falvo</strong></p></blockquote>
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<p><img title="COP_7966_Alam_ok.qxp:botero cop bross" src="http://artradarjournal.com/wp-content/uploads/2011/12/Alam-Approved-Cover-878x1024.jpg" alt="WIN a copy of 'My Journey as a Witness' by Shahidul Alam!" width="209" height="244" />WIN a copy of &#8216;My Journey as a Witness&#8217; by Shahidul Alam!</p>
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<p><strong>WIN your very own copy of My Journey As a Witness!</strong></p>
<p>We have one copy of Shahidul Alam’s beautiful <em>My Journey as a Witness</em> to giveaway. All you have to do is leave your answer to the question below in the comment section of this post, or leave a message on our <a href="https://www.facebook.com/artradar" target="_blank">Facebook page</a> or<a href="http://twitter.com/artRadar" target="_blank">Twitter account</a>. We will draw the winning name randomly on <em>Tuesday 27 December 2011</em> and the winner will be contacted by email shortly after.</p>
<p><em><strong>The question:</strong> Name one of the foundations, organisation or festivals set up by Shahidul Alam since he began his career as a photojournalist.</em></p>
<p><a href="http://www.tristanhoare.co.uk/exhibitions-Shahidul_Alam.htm" target="_blank">Click here to read all about Shahidul Alam career highlights (hint, hint) at Tristan Hoare</a>.</p>
<p>So, leave a comment below or head to <em>Art Radar</em> on <a href="https://www.facebook.com/artradar" target="_blank">Facebook</a> or <a href="http://twitter.com/artRadar" target="_blank">Twitter</a> and leave your answer there. Winning is as easy as that!</p>
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		<title>People&#8217;s News</title>
		<link>http://www.shahidulnews.com/2011/12/26/peoples-news/</link>
		<comments>http://www.shahidulnews.com/2011/12/26/peoples-news/#comments</comments>
		<pubDate>Sun, 25 Dec 2011 18:09:53 +0000</pubDate>
		<dc:creator>Shahidul Alam</dc:creator>
				<category><![CDATA[Bangladesh]]></category>
		<category><![CDATA[Capitalism]]></category>
		<category><![CDATA[culture]]></category>
		<category><![CDATA[Democracy]]></category>
		<category><![CDATA[economy]]></category>
		<category><![CDATA[environment]]></category>
		<category><![CDATA[Governance]]></category>
		<category><![CDATA[Human rights]]></category>
		<category><![CDATA[media]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[Photojournalism]]></category>
		<category><![CDATA[politics]]></category>
		<category><![CDATA[Shahidul Alam]]></category>
		<category><![CDATA[South Asia]]></category>
		<category><![CDATA[Calendar 2012]]></category>
		<category><![CDATA[Drik]]></category>
		<category><![CDATA[DrikNews.]]></category>
		<category><![CDATA[new year]]></category>
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		<description><![CDATA[Subscribe to ShahidulNews Drik calendar 2012 now available: A moment of crisis, a celebration, the unexpected, a dream realized, hidden truths, a reaffirmation of what we knew. Through TV screens, newspaper pages, giant electronic screens and tiny handsets, we gather, &#8230; <a href="http://www.shahidulnews.com/2011/12/26/peoples-news/">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
			<content:encoded><![CDATA[<h3><a href="http://drik-amsterdam-01.drik.net/mailman/listinfo/shahidulnews?shahidul=Subscribe&amp;Submit=Join">Subscribe to ShahidulNews</a></h3>
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<h1>Drik calendar 2012 now available:</h1>
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<p><em><figure id="attachment_11171" aria-labelledby="figcaption_attachment_11171" class="wp-caption alignnone" style="width: 610px"><a href="http://www.shahidulnews.com/wp-content/uploads/2011/12/jute.jpg"><img class="size-full wp-image-11171" title="jute" src="http://www.shahidulnews.com/wp-content/uploads/2011/12/jute.jpg" alt="" width="600" height="400" /></a><figcaption id="figcaption_attachment_11171" class="wp-caption-text">Farmers harvest a bumper crop of Jute in Bogra district due to favourable weather and timely rain. The District Agricultural Department is expecting 240,000 bales of jute to be produced in Bogra region this year and the farmers are optimistic about getting good prices. Bogra, Bangladesh. July 20, 2010. © Shafiq Islam/DrikNEWS</figcaption></figure></em></p>
<p>A moment of crisis, a celebration, the unexpected, a dream realized, hidden truths, a reaffirmation of what we knew. Through TV screens, newspaper pages, giant electronic screens and tiny handsets, we gather, sift, scroll and parse news unfolding. Through twitter feeds, facebook and blogs, we circulate the news that we are fed, to inform, alert and mobilise those around us. Occasionally we question. The news photograph brings down powerful autocrats, highlights the plight of a single child, shines a spotlight on communities in strife, ignites the passion of victory, shares the tragedy of loss.</p>
<p><em><figure id="attachment_11167" aria-labelledby="figcaption_attachment_11167" class="wp-caption alignnone" style="width: 610px"><a href="http://www.shahidulnews.com/wp-content/uploads/2011/12/cover-page.jpg"><img class="size-full wp-image-11167" title="cover page" src="http://www.shahidulnews.com/wp-content/uploads/2011/12/cover-page.jpg" alt="" width="600" height="399" /></a><figcaption id="figcaption_attachment_11167" class="wp-caption-text">Villagers of Choto Gunorgati live in fear of river erosion and have shifted house three or four times to makeshift housing in crowded and unsanitary conditions. It is estimated that 100,000 families have become homeless in northern district of Bangladesh. This village located about 160 km from the capital city of Dhaka, beside the Jamuna river is well known as a weaving village. It has lost 7 kilometres to erosion in the last 6 years. Sirajgonj, Bangladesh. June 3, 2007. © Tanvir Ahmed/DrikNEWS</figcaption></figure></em></p>
<p>But the manufacture of consent has rarely been more engineered. With everything from wars to presidential campaigns being stage-managed and with mainstream news increasingly fed by official sources, reliance on usual sources of news images has become increasingly dangerous.<span id="more-11165"></span></p>
<p><em><figure id="attachment_11168" aria-labelledby="figcaption_attachment_11168" class="wp-caption alignnone" style="width: 610px"><a href="http://www.shahidulnews.com/wp-content/uploads/2011/12/stock-market.jpg"><img class="size-full wp-image-11168" title="stock market" src="http://www.shahidulnews.com/wp-content/uploads/2011/12/stock-market.jpg" alt="" width="600" height="400" /></a><figcaption id="figcaption_attachment_11168" class="wp-caption-text">Police arrest an investor following violent demonstrations outside the Dhaka Stock Exchange. The protest started after the stock market plunged to a record low of 660.43 points within the first 55 minutes of trading on Monday, January 1, 2011. Dhaka, Bangladesh. © Wahid Adnan/DrikNEWS</figcaption></figure></em></p>
<p>Majority world countries suffer particularly from stereotypical representations, and with media-mergers creating ever more powerful organisations, with tentacles that touch every aspect of our lives, our ‘knowledge’ of the world becomes increasingly more dominated by a few players. The need for news sources to be diverse and varied was never more urgent. With Getty and Corbis controlling the stock photo market, and Reuters, AP, AFP and EPA dominating the wires, massaging the truth is a norm that infiltrates our consciousness. The barriers between news and entertainment becomes increasingly blurred. Advertorials, product placements, well planted press releases package marketing hype through the Trojan horse of sponsored sound-bites and gritty footage masquerading as news.</p>
<p><em><figure id="attachment_11169" aria-labelledby="figcaption_attachment_11169" class="wp-caption alignnone" style="width: 610px"><a href="http://www.shahidulnews.com/wp-content/uploads/2011/12/hartal.jpg"><img class="size-full wp-image-11169" title="hartal" src="http://www.shahidulnews.com/wp-content/uploads/2011/12/hartal.jpg" alt="" width="600" height="400" /></a><figcaption id="figcaption_attachment_11169" class="wp-caption-text">Police and mega-alliance blockaders clashed at different places in the capital, leaving 20 people injured. Police fired at least 50 rounds of tear gas and arrested 15 people. Four large homemade bombs were thrown. The 72-hour blockade was called by the Awami League and its allies to demand the postponing of elections and reconstitute the caretaker government. Dhaka, Bangladesh, January 1, 2007. © Munem Wasif/DrikNEWS</figcaption></figure></em></p>
<p>Popular uprisings orchestrated through selected and sometimes fictional ‘news feeds’ are used to justify invasions, occupation and the murder and demonization of leaders who have outlived their usefulness. Propaganda in the guise of news, calls for selective applications of the Geneva Convention and international laws. Murder is justified, genocide glossed over. News channels hailed as the champions of the underdogs, know when to change their tune , towing the party line.</p>
<p><em><figure id="attachment_11170" aria-labelledby="figcaption_attachment_11170" class="wp-caption alignnone" style="width: 610px"><a href="http://www.shahidulnews.com/wp-content/uploads/2011/12/slum-fire.jpg"><img class="size-full wp-image-11170" title="slum fire" src="http://www.shahidulnews.com/wp-content/uploads/2011/12/slum-fire.jpg" alt="" width="600" height="400" /></a><figcaption id="figcaption_attachment_11170" class="wp-caption-text">A fire started allegedly by an arsonist following a personal dispute destroys 75 shanties in the Lalmati Bihari slum in Mirpur. No casualties or wounded were reported yet it took almost three hours for the Mirpur firefighters to get the fire under control. Dhaka, Bangladesh. February 27, 2010. © Wahid Adnan/DrikNEWS</figcaption></figure></em></p>
<p>The majority world has traditionally been represented by white, middle class, western photographers. But having local photographers is not sufficient in itself. As long as editorial control remains in the North, stories will continue to have a northern slant. As long as major corporations own the media, reporting will always serve the interests of the wealthy. The only way this can be challenged is through alternative sources being formed that are independent of western and corporate media. Lean, efficient, fluid media entities that can outmaneuver the media giants, creating fissures in smooth storytelling of the mega media machinery, allowing a different truth to emerge through the cracks.</p>
<p><em><figure id="attachment_11166" aria-labelledby="figcaption_attachment_11166" class="wp-caption alignnone" style="width: 610px"><a href="http://www.shahidulnews.com/wp-content/uploads/2011/12/church.jpg"><img class="size-full wp-image-11166" title="church" src="http://www.shahidulnews.com/wp-content/uploads/2011/12/church.jpg" alt="" width="600" height="400" /></a><figcaption id="figcaption_attachment_11166" class="wp-caption-text">Candles flicker at a church as Christians observe All Souls’ Day on the 2nd of November. On this day Christians visit graveyards, remember their friends and family and pray for the departed souls of their loved ones. Dhaka, Bangladesh. November 2, 2009. © Wahid Adnan/DrikNEWS</figcaption></figure></em></p>
<p>DrikNEWS is such a guerilla resistance against media occupation. The agency, an independent body of Drik Picture Library uses the powerful mix of new technology and grassroots reporting, to challenge established media, especially through citizen journalism and rural reporting. Through professionals immersed in their communities, and unhindered by the strings of corporate control, it tells stories that go against the grain. Combining powerful tools available through new technologies, linked with an extensive network of passionate reporters, the pioneers of digital technology in Bangladesh have combined the global reach of new media, with the local sensitivity of rural journalists nurtured by their communities. This is news for the people told the way only the people can tell.</p>
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