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"Description Vietnam was America's most divisive and unsuccessful foreign war. It was also the first to be televised and the first of the modern era fought without military censorship. From the earliest days of the Kennedy-Johnson escalation right up to the American withdrawal, and even today, the media's role in Vietnam has continued to be intensely controversial. The "Uncensored War" gives a richly detailed account of what Americans read and watched about Vietnam. Hallin draws on the complete body of the New York Times coverage from 1961 to 1965, a sample of hundreds of television reports from 1965-73, including television coverage filmed by the Defense Department in the early years of the war, and interviews with many of the journalists who reported it, to give a powerful critique of the conventional wisdom, both conservative and liberal, about the media and Vietnam. Far from being a consistent adversary of government policy in Vietnam, Hallin shows, the media were closely tied to official perspectives throughout the war, though divisions in the government itself and contradictions in its public relations policies caused every administration, at certain times, to lose its ability to "manage" the news effectively. As for television, it neither showed the "literal horror of war," nor did it play a leading role in the collapse of support: it presented a highly idealized picture of the war in the early years, and shifted toward a more critical view only after public unhappiness and elite divisions over the war were well advanced. The "Uncensored War" is essential reading for anyone interested in the history of the Vietnam war or the role of the media in contemporary American politics."

Philip Jones Griffiths (b. 1936) is a Welsh-born photojournalist known for his coverage of the Vietnam war. Griffiths studied pharmacy but started as a freelance photographer in 1961, traveling to Algeria in 1962. He arrived in Vietnam in 1966, working for the Magnum agency. Magnum found his images difficult to sell to American magazines, as they concentrated on the suffering of the Vietnamese people and reflected Griffiths's view of the war as an episode in the continuing decolonisation of former European possessions. He was able to get a 'scoop' that the American outlets liked, photographs of Jackie Kennedy vacationing with a male friend in Cambodia. The proceeds of these photos enabled him to continue his coverage of Vietnam and to publish Vietnam Inc. in 1971. The book had a major influence on American perceptions of the war, and became a classic of photojournalism. In 2001 the book was reprinted with a foreword by Noam Chomsky.

Vietnam War - "The Impact of Media" explores in detail the 'media distortions' due to television's misrepresentations during the Vietnam War. It rebuts the view promoted by PBS 's 13-part documentary series, "Vietnam: A Television History". The rebuttal also applies to "The Ten Thousand Day War" series. "The Impact of Media" is a must-see for historians and politicians alike. The late president Ronald Reagan lauded this rebuttal video when he watched it and said that it's "something all Americans should see". Made in 1984.

Born in Rhuddlan, Wales, Jones Griffiths studied pharmacy in Liverpool and practiced in London while photographing part time for the Manchester Guardian. In 1961 he became a full-time freelancer for the London Observer. He covered the Algerian War in 1962 then became based in Central Africa, moving from there to Asia. He photographed in Vietnam from 1966 to 1968. He went back to Vietnam in 1970 and became famous for his 1971 book on the war, Vietnam Inc.

Wars have a way of reducing themselves to moments, single memories, tiny episodes. Here, pictures have a thousand-to-one advantage over words. The 10-year Vietnam War was summed up in four photographs: Associated Press photographer Eddie Adams captured the instant in 1968 when South Vietnamese Brig. Gen. Nguyen Ngoc Loan executed a Viet Cong prisoner on a Saigon street. Nick Ut snapped a picture of Kim Phuc, a Vietnamese girl, fleeing naked down a highway in Vietnam after a napalm attack in 1972. Ron Haeberle took a picture of the limp bodies of the My Lai massacre victims after they were shot in 1968. John Filo caught Mary Ann Vecchio screaming over the body of a fellow student slain by National Guardsmen during a war protest at Kent State University in Ohio in 1970. These photographs, it could be argued, tilted the whole balance of public opinion against the war. What occurred on the battlefield was rendered largely irrelevant by what occurred when certain photons massed themselves into images and rushed into the retinas and minds of the American public.

Kim Phuc was the subject of a famous photo from the Vietnam war which shows her as a child running naked after being severely burned by a napalm attack. She is joined by UC Davis faculty to consider photographic images that have changed history. Series: "Mondavi Center Presents" [5/2007] [Public Affairs] [Humanities] [Show ID: 12409]

My lai massacre in pictures, U.S army photographers captured the events of the day, from the morning at LZ Dottie to the massacre itself. Some of the photos of the operation were published in a U.S Army newspaper without giving the impression that a massacre had taken place, other photos were secretly taken by R. Haeberle on his own camera, rather than the army issued one which was subject to censorship an estimated 504 Vietnamese civilians were killed by U.S. Army forces on March 16, 1968, in the hamlet of My Lai, during the Vietnam War

At PixelPress our intent is to encourage documentary photographers, writers, filmmakers, artists, human rights workers and students to explore the world in ways that take advantage of the new possibilities provided by digital media. We seek a new paradigm of journalism, one that encourages an active dialogue between the author and reader and, also, the subject. Our online magazine features projects that use a variety of linear and non-linear strategies, attempting to articulate visions of human possibility even while confirming human frailty. For us the digital revolution is a revolution in consciousness, not in commerce. We work with organizations such as Crimes of War, Human Rights Watch, World Health Organization and UNICEF to create Web sites that deal directly with contemporary issues in complex and innovative ways that circumvent media sensationalism and simplification. We also try to factor in ways that the viewer can help remedy social problems, rather than remain a spectator. Recently we completed a site focusing on how to end polio worldwide; another trying to aid an orphanage in Rwanda; one trying to reclaim the Brazilian forest; and a site featuring the images of photographers from the Vietnam War. And we also create books with photographers such as Machiel Botman, Kent Klich and Sebastião Salgado on social themes, as well as traveling exhibitions using both digital and conventional processes.

Brighton Photo Biennial Memory of Fire: The War of Images and Images of War festival review and interview with curator Julian Stallabrass by Guy Lane The Brighton Photo Biennial offers an in-depth exploration of the photography of war. Ten exhibitions, in locations across the South Coast, examine various aspects of the production, use and circulation of imagery during wartime. At the heart of the Biennial is a comparison of photojournalism from the Vietnam and Iraq wars, featuring - amongst others - the work of Larry Burrows, Don McCullin, photographers from the North Vietnamese Army, Bilal Hussein and Stephanie Sinclair. Harriet Logan's photographs of women in Afghanistan are afforded a solo show; as is Philip Jones Griffiths' Agent Orange project. Dutch photojournalist Geert van Kesteren presents edits from his books, Why Mister Why? and Baghdad Calling. Themes of censorship and obscenity are addressed in an installation by Swiss artist Thomas Hirschhorn. The representation of war by contemporary art photographers - including Simon Norfolk, Paul Seawright and Adam Broomberg & Oliver Chanarin - is the subject of a further exhibition. Julian Germain hosts a display of pictures made by military personnel based in Portsmouth. And separate shows of material from the First World War (by Frank Hurley), and the Mexican Revolution, suggest historical parallels to the more recent work. The Biennial, titled Memory of Fire: the War of Images and Images of War is described as an opportunity for visitors "to experience a range of imagery and to reflect critically on the different elements and contrasts." It runs from the beginning of October for six weeks. Below, curator Julian Stallabrass discusses some of the diverse issues and topics raised by the show.

please watch these in advance of the session -Take Care by MediaStorm because of it's great use of stills and video to combine for a moving and aesthetically powerful visual narrative, it's great character development and that fact that within a short time frame you get transitions and a transformation within the story. I'm impressed that this project came out of a one week workshop, which is testament to the collaborative effort that so often is part of a successful multimedia work, but also to Gillian Laube's visual sophistication. http://mediastorm.com/training/take-care -Blanco- by Stefano de Luigi is a great example of multimedia that is more conceptual, evocative without being journalistic and visually stunning. While the reliance on special effects might turn off some, I find it quite effective in this case. As multimedia developments and evolves as a new medium in the context of photojournalism and the profession of photography, we must remain open to using the new tools and techniques available to us. http://magazine.viiphoto.com/feature/show/267 -50 Milligrams Is Not Enough- by Bob Sacha and Scott Anger, produced by Pam Chen for Open Society Foundation. This marvelous piece highlights a worldwide issue in healthcare, told in an intimate, moving, visually lush way. This piece is a great example of visual storytelling and advocacy journalism, done with the highest aesthetic qualities. Great character development, in a wonderfully told plot, with sensitivity and high journalistic standards. http://www.youtube.com/watch?v=sWeUDNyqo1I -Leaves Keep Falling- by Ed Kashi, produced by Talking Eyes Media, is a short film and strong example of advocacy journalism. About the lingering impact of Agent Orange on the children of Vietnam, it mixes stills and video in a linear narrative to keep a story that seems old alive and relevant for new generations to remain aware of. It was produced for a foundation in cooperation with an NGO working to support families

Afghanistan: Pictures Not Taken 'When the press started to feel empowered to show and tell the truth, it was only a matter of time before the military and government powers would retaliate.' By Travis Beard Journalist Ash Sweeting rides in a pickup with the Afghanistan National Police. Photo by ©Travis Beard/Argusphotography. Nothing has more power to communicate the destruction and despair of our time-especially from the war zones of Iraq and Afghanistan-than photography. But in the sanitized and censored environments now of government and military control, taking the picture can be as difficult as getting it published. In coverage of these wars, freelance photojournalists are indispensible. One after another, news organizations have abandoned the task of informing the public. For editors back home, photojournalists-and the images they transmit-are problematic. But it's not the photographers who pose the problem; it's the truth their images tell. During the Vietnam War, there was the searing image of nine-year-old Kim Phouc running down the road with her flesh melting and fusing into her body after a napalm strike and her brother running in front of her with an expression that recalled Edvard Munch's "The Scream." This photograph spoke to people in ways that words had failed to do. These children were ones the Americans were supposed to be saving, not bombing. Images such as this one did much to turn the tide of that war, but if they did, it was because they conveyed important truths.

Citizen Journalism: Global Perspectives examines the spontaneous actions of ordinary people, caught up in extraordinary events, who felt compelled to adopt the role of a news reporter. This collection draws together 21 original, thought-provoking chapters. It investigates citizen journalism in the West, including the United States, United Kingdom, Europe, and Australia, as well as its development in a variety of other national contexts around the globe, including Brazil, China, India, Iran, Iraq, Kenya, Palestine, South Korea, Vietnam, and even Antarctica. It engages with several of the most significant topics for this important area of inquiry from fresh, challenging perspectives. Its aim is to assess the contribution of citizen journalism to crisis reporting, and to encourage new forms of dialogue and debate about how it may be improved in future.

"Corentin Wauters: Gamma is one of the most famous photojournalism agencies. Some even call it legendary. How important has it been for photojournalism? Michiel Munneke: I think Gamma - but also others like Magnum, for instance - played an extremely important role from early years on, especially in documenting crucial news events around the world. It's important to realise that in those days you had magazines like Life and the Picture Post who very generously allocated tens of pages to events like the war in Vietnam, for example. Those publications and photographs made a huge impact on their readerships. I think it's fair to say that the founders of Gamma, like Raymond Depardon - although he moved to Magnum at the end of the '70s - and Gilles Corron, who died in 1970 in Cambodia, can be classified as legendary. They played a very important role in news documenting in those years. Raymond Depardon said that in 1966 you only had to travel far away and take three shots to get published in magazines Paris Match or Le Nouvel Observateur. How has the profession of photojournalism changed since Gamma was founded? If Depardon was saying that competition for space in publications like Paris Match or Le Nouvel Observateur is stronger, then he's absolutely right. Competition is far more severe. Circulations are going down, advertising revenues are shrinking, and consequently budgets for journalism and for photography are being cut. image Nowadays its very rare that publications send photographers for assignments overseas. Take a renowned magazine like Time. They still have photographers on staff but they very rarely get assignments to go overseas. It's a sign of the times. Gamma, but also other big photojournalism agencies like Sipa, were founded in Paris. The city had a big name as a centre for photojournalism. To what extent is that true today? I think for those years it was really true. But now, in the era of globalisation and digitisation, it doesnâ