The massacres in Uvalde and Buffalo have provoked new waves of frustration and despair, and new demands for change. Would showing graphic images of mass shootings shock gun-reform opponents out of inaction?
, as he lay in an open casket. No one who has seen the grisly abstraction of his face has difficulty recalling it.publisher, that she wanted to show the world what had been done to her son. Her audacious decision not only morally indicted the men responsible for Till’s death—that year, none were found guilty by a court—but galvanized public opinion against segregation and Jim Crow.
“Without Sanctuary,” an exhibit of lynching photographs that first opened at a New York City gallery, in 2000, was a window into the abject cruelty of the era, yet the horrors depicted in the images weren’t nearly as striking as the exuberance of the murderers and the onlookers.
Tabloid journalism is often stigmatized for pandering to the basest human inclinations—titillation, cheap horror, rage—but the fact is that no publisher can control how an image will be consumed, no matter how sombre or austere the presentation. Susan Sontag, in “,” a book on the politics of war photography, writes that images of atrocities do not convey a single, uncontested message; rather, their meaning depends heavily on their context.
We have to consider all such possible responses, because the latest suggestions that we publish graphic images of mass shootings come from empathetic individuals who want to shock the public into greater empathy, and from there to action. But the violence itself is the product of the opposite sensibility—a profound absence of empathy. The reason that the Emmett Till photo was received differently than other similar images was because of the context in which it was shown.
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