war photographer Flashcards
1
Q
form
A
- begins on trochaic meter, first syllable stressed
- then swaps it to iambic in the second line
- creates unsettling tone, puzzling
2
Q
“in his dark room…
A
he is finally alone with spools of suffering set out in ordered rows
3
Q
in his dark room he is finally alone with spools of suffering set out in ordered rows analysis
A
- symbolism - “dark room” where film used to be developed, suggests that his purpose is dark, we question the moral purpose of the war photographer, is he a dark person? or only recording dark events?
- The darkness conveys a sense of isolation, secrecy, and the somber nature of the photographer’s work.
- “finally” suggests hes pleased, perhaps he doesnt like humanity or he doesnt think they are capable of being good because of what hes seen at wartime
- “spools of suffering” - sibilance, soft but sinister sound, suggests the dark nature of being around sinister things like war but not intervening in it
- ordered rows alludes to death, graveyards set like this
- The ordered rows suggest the photographer’s meticulous organization and control over the chaos and horror he witnesses, but it also reflects the systematic nature of war and the repetitive cycle of human suffering
- image of a person who makes profit off people dying? or image of person who aims to stop war by exposing the harsh realities of it
4
Q
“a priest preparing to intone…
A
a mass. Belfast Beirut. Phnom Penh. All flesh is grass
5
Q
“a priest preparing preparing to intone a mass. Belfast.Beirut.Phnom Penh. All flesh is grass. analysis
A
- The use of half rhyme in this phrase reinforces the idea of an incomplete or disrupted rhyme scheme, mirroring the disrupted lives and tragic events happening in the mentioned cities.
- iambic to trochaic meter
- plosive sounds reflect the sounds of bombs, which links to how people die
irony - “priest” suggests that hes doing something godly, but hes recording death - Listing starts from close to home, then Middle East, then South asia, and they also get bigger and bigger
- Biblical allusion “all flesh is grass”
- All flesh is grass” is a metaphorical statement and biblical allusion that symbolizes the fleeting and transient nature of human existence. It draws upon the biblical passage from Isaiah 40:6, which reflects on the fragility and impermanence of life. By juxtaposing this symbolic phrase with the names of cities associated with war and suffering, Duffy emphasizes the ephemeral nature of human lives in the face of such violence.
6
Q
“a half formed ghost…
A
he remembers the cries of this mans wife, how he sought approval
7
Q
“a half formed ghost. he remembers the cries of this mans wife, how he sought approval”
A
- metaphor of a “half formed ghost” further emphasizes his sense of detachment and disconnection. It implies that he is neither fully present nor fully alive, highlighting the emotional toll that his work takes on him. The metaphor also implies a loss of identity, as he becomes consumed by the traumatic images he witnesses
- The phrase “how he sought approval” provides insight into the photographer’s inner motivations and desires. It suggests that he seeks validation for his work, indicating that he grapples with the moral implications of documenting human suffering. This characterization adds complexity to his role as a witness to war, as he navigates the tension between capturing truth and the need for recognition or acceptance
- he remembers the cries of this man’s wife” appeals to the reader’s emotions by evoking empathy and compassion. The use of the word “cries” intensifies the emotional impact, emphasizing the grief and pain experienced by the wife. This phrase humanizes the suffering caused by war and invites readers to reflect on the profound impact of conflict on individuals and families.
- a half formed ghost” creates vivid imagery that evokes a sense of ethereality and incompleteness. It suggests that the photographer feels disconnected from his surroundings, like a spectral presence. This image underscores his emotional and psychological state, conveying his feelings of detachment and being haunted by the images he captures
8
Q
“the readers eyeballs prick…
A
with tears between the bath and pre lunch beers”
9
Q
the readers eyeballs prick with tears between the bath and pre lunch beers analysis
A
- internal rhyme suggests joy, which is ironic as what these readers should be feeling is shock and horror
- “prick” suggests something small, suggests that readers are not feeling the right amount of emotion when reading this, and seems like they completely forget about it by washing it away in a bath and getting drunk
Rather than expressing deep empathy or genuine concern, the phrase suggests a temporary emotional reaction that quickly dissipates. This irony underscores the lack of sustained engagement or commitment to addressing the issues depicted in the photographs. - Duffy suggesting that modern people depend on the suffering of others, but they ignore that suffering, perhaps they medicate themselves through drinking so that they dont have to face what happens in third world countries
- despite the war photographers impacts
- ultimately, Duffy portrays the mans life as tragedy, his lifes work has ruined his own ability to feel, its made him only enjoy his own company, but hhis reward (to change the way people viewed the world) has not happened
- This contrast highlights the triviality and casualness of the readers’ actions, as they transition from mundane everyday routines to engaging with the images of war and suffering. The juxtaposition suggests a lack of seriousness or genuine concern for the subject matter.
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10
Q
“from the aeroplane…
A
he stares impassively at where he earns his living and they do not care
11
Q
from the aeroplane he stares impassively at where he earns his living and they do not care
A
- ending with couplet suggests a sense of completeness, done ironically as there is nothing complete about what the photographer feels
- ambigious, is he staring out at Britain when he leaves and goes back off to war? or is he staring impassively at the war he is leaving
- impassive suggests without feeling, wp has been destroyed by his role, hes unable to find pleasure in coming back home, or pleasure in providing a service, hes not making his country or the one where the wars taking place any better
- final irony suggests that feeding this limited amount of emotion to people is how he earns his living, terrible irony as its the fact that he is “living” and they are dying
- While it is his profession, it also exposes him to the horrors of war, emphasizing the paradoxical relationship between earning a livelihood and witnessing the suffering of others.
- The contrast between the impassive stare of the war photographer and the lack of concern from the viewers is significant. It highlights the disconnection between those who witness the horrors of war firsthand and those who consume the images from a safe distance. This juxtaposition underscores the emotional burden carried by the photographer, as he confronts the brutal realities of war while the audience remains detached and indifferent.
