Philip Jones Griffiths

The photographer Philip Jones Griffiths, famous for his singular focus on the war in Vietnam, passed away earlier this week.

Of the various themes in Griffiths' work, one of the most central dealt with his understanding of the war as a mission to turn the Vietnamese into consumers of the American brand.  Given Griffiths' long time dedication to following the aftermath of the war, his contribution, as much anything is, was a portrayal of the long-term effect of the conflict on the consciousness of that country. 

If a sense of irony passes back-and-forth here between Griffiths and the viewer, I don't get the sense that this passerby registers, in any way, how much these Western figures evolved, over decades, into such a normative model.

It's both strange and curious that the photographer would die on the five-year anniversary of the Iraq War.  Is part of the resonance here the possibility of observing a similar phenomenon in the shops in Baghdad in, say, 2038?

The Vietnamization of Philip Jones Griffiths (Digital Journalist)
Presence Of Mind: The Photographs of Philip Jones Griffiths (Aperture)
Magnum: Wars (Vietnam) - (Magnum video)

(image © Philip Jones Griffiths / Magnum.  February 5, 1996.  from: Vietnam at Peace / Trolley Books)

Comments

[KansasKowboy]

So much great photography came out of the Viet Nam War. Each single photo of the Vietnam Era spoke the thousand words that needed to be said about that war or any war. It is s pitty that with todays digital technology and break -neck speed at which images can circumnavigate the globe that only a few images, in comparison, from the Iraq war have emerged with any message. The only ones I can think of is Abu Graeb and they weren't taken by professional photojournalist trying to tell a story with their photos. I guess that speaks to the success the Bush Administration has had in keeping war stories and photos from entering the conciousness of United States Citizens.

[Nina Berman]

I don't think the Bush Administration is to blame. I know of no photographer who has gone to Iraq to live. I refuse to believe it's impossible to do. That doesn't mean I'm discounting their images or their bravery. The Bag has posted many fine images by extraordinary photographers, but despite the artistry, they seem to only be scratching the surface. We primarily see the sensational, the action, something to go with a news story. Philip's pictures, and I hope people look through them, are oddly devoid of action. They are quiet. They require a thoughtful gaze. They have significance and meaning way beyond the scene before him. I feel when I look at them, that he is moving slowly, stopping, not shooting everything, being instead very particular and discerning. His gentleness will be greatly missed.

[KansasKowboy]

Nina, perhaps you are right but the Bush Administration has made a concerted effort to not allow the media to have a voice inside Iraq. First with the embedded reporters, then with the restriction against photographing caskets returning from Iraq. Not to mention the high death toll rate of journalist covering Iraq. I am not saying that the US Government is responsible for those deaths, but someone there doesn't like reporters or photo journalists.

[arty]

Nina - You should do just a little bit of research into what it was like covering the war in Vietnam before you start blaming other photographers for not doing things your way in Iraq. If you truly "refuse to believe it's impossible to do," perhaps you should demonstrate for the rest of the press corps.

[Nina Berman]

I wasn't trying to disparage anyone. Nor do I expect people to do things my way whatever you think that is. But I do see a difference in Philip's pictures and his approach to Vietnam compared to the photographs I see coming out of Iraq. Perhaps it is the market conditions. Perhaps it is the speed at which images are disseminated today, as the first poster suggested, which make the images seem a little thin and disconnected to me, at least in comparison to Philip's. The only visuals I have seen which to me showed something deeper was in film -- "Iraq in Fragments" especially, and mainly because it was about Iraqis and the narrative was sustained. As for living in Iraq, it may not have been possible in every place during all the years of the war, but I bet there must be some people living among the population, or maybe Iraqi photographers I don't knw about. What I mean to say is, I'd really like to see some images that feel more like a self initiated project, a personal, deep, sustained interest, instead of selects from fragmented assignments and the only way I seen people do this is to make a commitment to live there at least for some time. I'd love to hear more discussion about this, but I prefer not to be bashed Arty.

[jtfromBC]

In Jan 2002 Philip Jones Griffiths talked with Amy Goodman, from info gleaned in these interviews I think various disparate opinions on this thread may be supported to some degree. I have viewed and studied the sources linked here by The Bag.

I am over whelmed by Griffiths work, awed by his humanity, and inspired by his critique of *our social dis-order* and its ongoing relentless and devastating consequences in many foreign lands.
I am not surprised that Noam Chomsky wrote the forward for Vietnam Inc.

Part 1,
http://www.democracynow.org/2002/1/23/vietnam_inc_a_photo_journey_through start (15 min)
Part 2,
http://www.democracynow.org/2002/1/24/vietnam_inc_part_ii_a_photo (15 min)

[Chris]

The adult mannequins in the window resemble "Agents Smith" from The Matrix.

[jtfromBC]

A tribute to Philip Jones Griffiths, who understood war & peace, & people

No photographer produced such finely subversive work, knowing that truth in war is always subversive.

My favourite was of a large GI in a crowd of busy, opaque Vietnamese faces including a young woman photographed in the act of picking his pocket artfully, elegantly, little finger extended. This was the picture for which he had waited days on the balcony at the Royale.

http://www.johnpilger.com/page.asp?partid=480

[Janie]

This creates a pensive state of mind - and a little disconcerting.