By Carol Spencer Mitchell
"You're going where?" Carol Spencer Mitchell's father demanded as she trigger in 1984 to hide the center East as a photojournalist for Newsweek and different guides. during this intensely considerate memoir, Spencer Mitchell probes the motivations that impelled her, a unmarried, Jewish lady, to record the turmoil roiling the Arab international within the Nineteen Eighties and Nineties, in addition to how her studies as a photojournalist "compelled [me] to put aside [my] cameras and reexamine the best way photos are created, scenes are framed, and the way 'real existence' is packaged for particular information stories." at risk Pay, Spencer Mitchell takes us on a harrowing trip to PLO army education camps for Palestinian kids and to refugee camps within the Gaza Strip ahead of, in the course of, and after the 1st intifada. via her eyes, we event the media frenzy surrounding the 1985 hijackings of TWA Flight #847 and the Italian cruise liner Achille Lauro. We meet heart jap leaders, specifically Yasser Arafat and King Hussein of Jordan, with whom Spencer Mitchell constructed shut operating relationships. And we witness Spencer Mitchell's transforming into conviction that the Western media's portrayal of conflicts within the center East really is helping to gasoline these conflicts--a conviction that at last, as she says, "shattered my career." even supposing the occasions that Spencer Mitchell files happened a new release in the past, their repercussions reverberate within the conflicts occurring within the center East this present day. Likewise, her problem approximately "the triumph of photograph over truth" takes on higher urgency as our wisdom of the realm turns into ever extra filtered via digital media.
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Extra resources for Danger Pay: Memoir of a Photojournalist in the Middle East, 1984-1994 (Focus on American History)
I ask. “Two. ” “I hate breaking these new guys in,” groans the Israeli cameraman again. ” “Because the home office thinks reporters get stale, so every three years or so, they rotate them,” I say. “It’s pretty much standard policy. ” They light cigarettes and lapse into Hebrew, talking between themselves. Unlike the multinational correspondents, the TV crews and photographers working here are almost all Israeli, or married to Israelis. I lean my head against the backseat, half listening to a BBC radio program warning us about the need for global conservation due to the greenhouse effect.
But she remembers well what it was like to have her land confiscated, to be rounded up and forced to flee, to have her home taken without any compensation, and she can’t forgive that even if the story is true. I understand that too. She doesn’t equate the two pasts, the experiences of Palestinian and Jew. Why should she? Neither do I. Their histories are different. But she knows she is the victim of victims. She speaks of the inescapable conflict between Arabs and Jews and the humiliations to which Palestinians are subjugated.
The plaster walls are painted royal blue, and from them hang a birdcage with a yellow parakeet in it; a transistor radio; several black-and-white family pictures, only one of which is framed; a tapestry of Jerusalem’s Old City; a large poster with two snow-white, very furry kittens; and another poster, this one smaller, of a jaunty-looking lion. It is a typical refugee camp sitting room, combining the makeshift improvisations of poverty with the whimsical images of fantasy. Fatima returns with a tray of steaming coffee, boiled with heaps of sugar and spiced with cardamom.
Danger Pay: Memoir of a Photojournalist in the Middle East, 1984-1994 (Focus on American History) by Carol Spencer Mitchell