Against all that, does it matter that we were sold a lie? Ironically - and unintentionally - The Independent headline articulates the question: "How can we stand by and allow this to go on"? But I suspect they were not thinking what we are thinking.
From a E.U. Referendum Blog article, Qana - the director's cut, more below (Note: Linked photographs are GRAPHIC.):
Saturday, August 05, 2006 [/] Qana - the director's cut
I have called this post, "the director's cut", as that is what it is. The narrative here is of how the combination of Hezbollah's media management and modern photo-journalism has turned the recording of a tragic event into theatre, in the best tradition of Michael Moore.
As best we can, we have pieced together the jumble of evidence which surrounded the production of the iconic photographs which were published around the world, and put them in perspective. Many of the photographs have been used before, some are new to this site and others are video "grabs". But it is not the pictures, per se, that tell the story, so much as their ordering and analysis. Make of this what you will, but I can assure you that you are not supposed to see them in this light.
The "story" - for that is what it is - starts here, in the wreckage of the buiding at Qana which is performing the temporary and unwholesome function of a morgue. It is from here, that the bodies are extracted, the essential props of this theatre. And standing on the left of the frame is one of the two star characters of our story, Mr "White Tee-Shirt". With equal accuracy, though, we could call him Mr Hezbollah, for reasons which will become apparent.
[…] Anyhow, it is now clear that the body of the "girl in orange" is not what is wanted. It is unceremoniously dumped outside, and is later stretchered off to the waiting fleet of ambulances. This is what happens to most of the bodies, which are carried up "stretcher alley" by diverse parties of stretcher bearers through the day. As with other casualties, the wrapping is conveniently left open to allow photographers to take pictures as the stretcher passes.
However, there then seems to be something of a commotion. Not one but two bodies of girls have been found. From this Newsnight video grab we see them being manhandled out to the opening of the wrecked building. At this stage, the bodies are not treated with any care or dignity as they are handed to "White Tee-shirt". But it seems evident that he has found what he wanted. And, although, on film he speaks loudly and gesticulates, there is no display of anything that could be interpreted as emotion.
Now, entering stage-right is the second of our star characters, "Green Helmet". Without any ado, he makes a grab for the first of the girl's bodies, which is surrendered by a deferant "White Tee-shirt". In the next frame (not shown) Mr "Green Helmet" cradles the body in his arms, as if to carry it.
[…] Anyhow, in the next frame, we begin to see the game plan. "Green Helmet" is making a "camera run", carrying the highly photogenic corpse of a little girl, holding it is arms to maximise the shock value and the emotional impact. At this stage, though, he is walking up to "Stretcher Alley" and is reserving his expression. This is sombre but not demonstrably dramatic. Several "snappers" go through the motions and take his picture but the results are little used.
In this frame, though, "Green Helmet" is going up "Stretcher Alley" in full view of the waiting media. Framed against the rubble, with the girl's body in his arms, he displays an intensity of emotion that we have not seen in him before. The combination makes for the iconic shot which is published throughout the world and, ironically, is now available printed on a white tee-shirt.
Out of shot, the route is marked out by Red Cross workers and others, redolent of mashalls on a race route. It has the feel of a highly organised film set, which is precisely what it is. And, in this frame, "Green Helmet" co-ops one worker into the theatre to provide the media with another photo opportunity. Whatever the message though, it is not real. The uniformed worker is merely a prop. "Green Helmet" does not need guidance - he has been up and down this route ceaselessly.
The corpse having served it purpose, "Green Helmet" has no further use for it. He dumps it on a guerney, leaving it in the care of the worker we have called "the man in black". There are other photo-opportunities in the making and, to "Green Helmet", these are his priority. He is off, without even waiting to see the corpse properly secured.
While "Green Helmet" and "White Tee-shirt" could have left together (the corpses were available together at the wreckage), and even carried the two corpses on a single stretcher, properly covered in respect for the dead. But that was never the game plan. With "Green Helmet" having done his camera run, it is now the turn of his partner to show off the trophies. We see him striding out carrying his photogenic corpse, surrounded by snappers and TV cameramen, who are obviously ready and waiting for him.
This and the previous shot, taken as "screen grabs" from a France 2 news broadcast, are hardly iconic material. But, as he approaches the media scrum, "White Tee-shirt" is assuming an anguished expression which intensifies with every stride. His mouth opens and he starts to shout passionately, as he steps onwards, his swiftening stride conveying a sense of urgency. Yet, the urgency is false. He has waited for "Green Helmet" to complete his run before even starting out.
Well into his stride now and emoting freely, "White Tee-shirt is producing iconic material, eagerly captured by the snappers. This picture here makes the Daily Telegraph and many other dailies. Again, the combination of the photgenic corpse and the "raw emotion" make the picture irresistable. It is a stunning performance, even if the result lacks the essential touch of the background wreckage.
Now the strategy becomes clear. Round the corner and on top of the rise formed by "Stretcher Alley" is the "fiercely competitive" media, coralled like sheep in a pen, waiting for the next photo-opportunity to be presented to them. And Hezbollah is about to lay on the performance of a lifetime, a human interest story starring "Green Helmet and "White Tee-shirt" in a bravura display of raw emotion.
But everything is coming right. Without moving from their positions, all the snappers have to do is let the stars come to them. Now the angles are right, the pair complement each other and the expressions are spot on. With an imaginative caption "man screaming for help...", it goes straight on the front page of The Guardian. This is award-winning stuff, except the prize should really go to Hezbollah.
[…] And at last the body of the poor mite that was once a pretty child is laid rest temporarily in the back of the ambulance. Even then, her mortal remains are publicity fodder, providing a poignant reminder of the tragedy, without the artifice of poses. This is the only natural pose in the whole sequence, but it lacks the drama the editors need. The picture ends up as a filler for internet archives.
[…] While the dead rest at last, we now see why "White Tee-shirt" was so anxious to get away. He has to return home to be interviewed by a France 2 reporter. He starts by showing the reporter round the house, well furnished and far from modest. This is no poverty-stricken man, embittered by deprivation. Even by European or American standards, the house is well-furnished and comfortable.
But what is so evident are the pictures of Sheik Hassan Nasrallah - even a calendar. This is not a dwelling - it is a shrine to Hezbollah, the party of God. But "White Tee-shirt" is not Hezbollah, oh, no! That is what he tells the young reporter, saying that it is the Israeli aggression that is radicalising Muslims and driving them into the arms of Hezbollah.
Make up your own mind. Is this a Hezbollah member, or a mere supporter? This is a Hezbollah stronghold, a town from which the IDF claim over 150 missiles have been fired. And our "White Tee-shirt" has a house full of Hezbollah material and is not a member - was not all day driving that agenda forward? Was he simply an ordinary joe, overcome with emotion at the death and destruction around him, of which he was entirely innocent?
These issues are, of course, not addressed by the media, either on the ground or back in the comfortable, air conditioned editorial offices, thousands of miles from the action. There, pictures of death are a commodity. It doesn't matter under what circumstances they were gained, and to what purpose the actors paraded their emotions. Another forest-load of dead trees conveyed the story and a few dead children were exploited to provide pictures and add drama.
Against all that, does it matter that we were sold a lie? Ironically - and unintentionally - The Independent headline articulates the question: "How can we stand by and allow this to go on"? But I suspect they were not thinking what we are thinking. [My ellipses and emphasis]
