A visual framing analysis of British press photography during the 2006 Israel- Lebanon conflict

Abstract

This article develops a model of visual framing analysis through an examination of the photographic representation of the 2006 Israel—Lebanon conflict. The intentions of this investigation are twofold: first, to compare and contrast the use of press photographs in two ‘quality’ British newspapers — The Times and The Guardian; second, to develop and test a model of visual framing analysis which takes seriously both the visual elements and verbal context of the photographs. The study employs a detailed content and framing analysis of all press photographs relevant to the conflict, with the following questions in mind: What is the character of photographic representation of both sides in the conflict and how does it fit with various moral evaluations and political interpretations of the war? Which groups are shown in an empathetic light? Is there any coherence to the framing of the war, or are many alternative explanations presented?

The Representation of Egyptian People’s Voice in the Jakarta Globe News Photographs

“…In addition, this study confirms findings from the previous studies that news photographs can help interpret particular news event through the selection, depiction, symbolism and lexical context such as headline or caption (Wolf, 2004;Fahmy and Kim, 2008;Mendelson and Wolf, 2009;Parry, 2010;Lovelace, 2010). In relation to the photo text such as headline and caption, the previous studies did not explain the role of headlines clearly, but they only focused on photos and captions.…”

“…In taking a photograph, the photographer's message about what is captured within the frame is -this is important‖ (Parry, 2010). Further, Burgin (1982, p.146) stated that -it is the position of point-of-view, occupied in fact by the camera, which is bestowed upon the spectator.…”

“…In recent years, a number of scholars have re-examined the role of visual images in depicting conflicts and wars: the picturing of Vietnam war in the five iconic photos (Lovelace, 2010); the picturing of Afghan women in the Associated Press before and after the fall of the Taliban regime (Fahmy, 2004); and the visual framing analysis of British press photography during the 2006 Israel-Lebanon conflict (Parry, 2010), as well as the representations of South African media of Islam after 11 September 2001 (Baderoon, 2007).…”

Narrative Inquiry as a Research Methodology: Discovering Meaning From the Stories of Canadian Veterans Diagnosed With PTSD (Post-traumatic Stress Disorder)

“…Raw footage of the wounded have become commonplace in our living rooms as we watch the latest conflict on television. With the increasingly graphic nature of war and conflict currently portrayed in the media, sensitization of public reactions to such atrocities can be diminished (Bushman & Anderson, 2001;Bushman & Cantor, 2003;Cantor, 2002;Parry, 2010;Robinson, Brown, Goddard, & Parry, 2005).…”

The Visual Dimension in Organizing, Organization, and Organization Research: Core Ideas, Current Developments, and Promising Avenues

“…Communication scholars have used the label of 'visual framing' to address these phenomena -inspired by Messaris and Abraham's (2001: 225) contention that messages "are received more readily in visual form" (for an overview of research on visual framing, see, for instance, Rodríguez & Dimitrova, 2011). The research agenda in this field has been particularly concerned with the visualization of critical events, such as issues of war (e.g., Parry, 2010;Schwalbe, Silcock, & Keith, 2008), terrorism (e.g., Fahmy, 2010), or disasters (e.g., Borah, 2009;Fahmy, Kelly, & Kim, 2007).…”