World Press Photo has cast fresh doubt over the authorship of “The Terror of War,” a picture better known as “Napalm Girl,” amid growing debate about one of the 20th century’s defining images. The organization, which named the image “Photo of the Year” in 1973, announced Friday that it has “suspended” its longstanding attribution to retired Associated Press (AP) photographer Nick Ut. An accompanying report said the “visual and technical” evidence “leans toward” an emerging theory that a Vietnamese freelance photographer, Nguyen Thanh Nghe, took the photo. It is the latest twist in a controversy sparked by “The Stringer,” a documentary that premiered at the Sundance Film Festival in January claiming Nghe, not Ut, captured the iconic photo of a naked girl fleeing a napalm attack during the Vietnam War. Nghe was one of more than a dozen people stationed at a highway checkpoint outside the village of Trang Bang on June 8, 1972, as 9-year-old Phan Thi Kim Phuc and other villagers were mistaken for the enemy and bombarded by the South Vietnamese air force. (A year later, Ut won the Pulitzer Prize for the picture.) The film contains allegations that Nghe sold his photo to the AP before editors intervened to credit Ut, who was the agency’s staff photographer in Saigon (now Ho Chi Minh City) at the time. CNN could not independently assess the claims because the film’s producer, the VII Foundation, did not respond to multiple requests for a copy of the documentary, which has not yet been publicly released. Ut has since repeatedly dismissed allegations that he did not take the photo. A statement released on the Vietnamese American photographer’s behalf by his attorney, Jim Hornstein, called World Press Photo’s decision to suspend attribution “deplorable and unprofessional.” The statement added that Nghe’s claim is “unsupported by a scintilla of corroborating evidence or eyewitness.” Earlier this month, the AP published a 96-page report on the matter. The investigation — which was based on eyewitness interviews, examination of cameras, a 3D model of the scene and surviving photo negatives — found “no definitive evidence” to justify changing the attribution. While the agency acknowledged that the passage of time and absence of key evidence made it “impossible to fully prove” whether Ut took the photo, crediting Nghe would “require several leaps of faith.” But World Press Photo took a different stance, with executive director Joumana El Zein Khoury writing on the organization’s website that the “level of doubt is too significant to maintain the existing attribution.” “At the same time, lacking conclusive evidence pointing definitively to another photographer, we cannot reassign authorship either,” she continued, adding: “The suspension will remain in place unless further evidence can clearly confirm or refute the original authorship.” Citing the AP investigation and the documentary, which included visual analysis by Paris-based research group Index, World Press Photo said there are “substantial and credible reasons” to doubt the existing attribution. The organization’s report centers on several “unresolved issues,” including the camera used to take the photo and analyses of Ut’s position relative to the image’s vantage point. A reconstruction of the scene by Index, based on a “geo-based timeline,” suggested that Ut would have needed to have “taken the photo, run 60 meters (197 feet), and returned calmly, all within a brief window of time,” World Press Photo said. The organization described that scenario as “highly unlikely” though “not impossible.” The AP, meanwhile, has disputed the 60-meter figure, saying that Ut’s purported position on the highway — which is based on “shaky,” low-resolution footage filmed by a TV cameraman — could have been as little as 32.8 meters away from where the image was captured, and that the photographer “could have been in the position to have taken the shot.” World Press Photo also pointed to ongoing questions over equipment. The AP has previously said it is “likely” the photo was taken using a Pentax camera, which Nghe is known to have used. Ut, however, had frequently said he carried cameras by Leica and Nikon. When questioned for the AP’s investigation, Ut told the agency he also used Pentax cameras. The photo agency said it subsequently found negatives in its archives, shot by Ut in Vietnam, with “the characteristics of a Pentax camera.” World Press Photo also noted the possibility that another person altogether — Vietnamese military photographer Huynh Cong Phuc, who sometimes sold images to news agencies — took the photo. The AP’s investigation noted that he, like Ut and Nghe, “could have been in the position to have taken the shot.” Earlier this month, Ut welcomed the findings of the AP’s latest report, saying in a statement that it “showed what has always been known, that the credit for my photo … is correct.” He added: “This whole thing has been very difficult for me and has caused great pain.” Appearing in the world’s newspapers the day after it was taken, “The Terror of War” became a symbol of opposition to the Vietnam War. In the decades since, Ut has campaigned for peace alongside the photo’s subject, now known as Kim Phuc Phan Thi, who survived her injuries and was granted political asylum by Canada in 1992. Speaking to CNN to mark the image’s 50th anniversary in 2022, the photographer recounted his version of events, saying: “I saw Kim running and she (screamed in Vietnamese) ‘Too hot! Too hot!’ “When I took the photo of her, I saw that her body was burned so badly, and I wanted to help her right away. I put all my camera gear down on the highway and put water on her body.” Ut said he put the injured children in his van and drove them for 30 minutes to a nearby hospital. “When I went back to my office, the (dark room technician) and everyone who saw the picture told me right away it was very powerful, and that the photo would win a Pulitzer,” he added.
Who took ‘Napalm Girl’? World Press Photo ‘suspends’ attribution of historic Vietnam War image
TruthLens AI Suggested Headline:
"World Press Photo Suspends Attribution of Iconic 'Napalm Girl' Photograph"
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TruthLens AI Summary
World Press Photo has recently raised significant questions regarding the authorship of the iconic photograph known as 'Napalm Girl,' officially titled 'The Terror of War.' This image, which won the organization’s 'Photo of the Year' award in 1973, has long been attributed to Nick Ut, a retired photographer from the Associated Press (AP). However, World Press Photo announced that it has suspended this attribution based on emerging theories and visual evidence suggesting that the photograph may have been taken by Nguyen Thanh Nghe, a Vietnamese freelance photographer. This controversy has intensified following the release of a documentary titled 'The Stringer,' which premiered at the Sundance Film Festival and asserts that Nghe, not Ut, was the one who captured the powerful image of a young girl fleeing a napalm attack during the Vietnam War in June 1972. This incident occurred during a bombing that mistakenly targeted villagers in Trang Bang, leading to the now-famous image of Phan Thi Kim Phuc, who was just nine years old at the time. Ut went on to win a Pulitzer Prize for the photograph a year later, but the documentary's claims have prompted further scrutiny of the photo's origins.
The ongoing debate has led to a clash of opinions between World Press Photo and the AP, which conducted its own investigation into the matter. The AP's report concluded that there was 'no definitive evidence' to support the claims made in the documentary, stating that attributing the photo to Nghe would require 'several leaps of faith.' In contrast, World Press Photo's executive director, Joumana El Zein Khoury, indicated that the doubts surrounding Ut's authorship were significant enough to warrant the suspension of attribution, although they could not definitively assign authorship to Nghe either. The investigation highlighted unresolved issues, such as the type of camera used and the positioning of the photographers at the time the photo was taken. While the AP maintains that Ut was in a position to have taken the photo, World Press Photo pointed out that the scenario of Ut capturing the image and quickly repositioning himself was 'highly unlikely.' This dispute not only raises questions about the photograph's legacy but also touches on broader themes of representation and recognition in wartime photography, as both Ut and Kim Phuc have continued to advocate for peace in the years following the war.
TruthLens AI Analysis
The article explores the recent controversy surrounding the authorship of the iconic Vietnam War photograph known as “The Terror of War” or “Napalm Girl.” World Press Photo has announced the suspension of its attribution to Nick Ut, raising questions about the legitimacy of his claim to have taken the photograph. This development is linked to a documentary that suggests Vietnamese freelance photographer Nguyen Thanh Nghe may be the true author of the image. The implications of this claim are profound, as the photograph has been a symbol of the horrors of war for decades.
Motivation Behind the Publication
The intention behind this piece appears to be to reevaluate a historic narrative that has been largely accepted for over 50 years. By casting doubt on Ut's authorship, the article encourages a deeper examination of photographic attribution and the complexities of war journalism. The timing of this revelation, coinciding with the release of a documentary, suggests a deliberate attempt to stimulate discussion and possibly provoke a reassessment of historical accounts related to the Vietnam War.
Public Perception and Potential Manipulation
This article may shape public perception by introducing uncertainty about a well-known photograph that symbolizes trauma and suffering. By highlighting the claims of Nghe and the suspension of Ut's attribution, the article could lead some readers to question the reliability of established historical narratives. There is a risk of manipulating emotions by framing the discussion around the integrity of photojournalism and the ethical responsibilities of media organizations.
Trustworthiness of the Claims
The article presents the controversy as a significant development, but it does not provide independent verification of the new claims made by Nghe. While it cites visual and technical evidence, the lack of corroborating details may raise questions about the reliability of these assertions. This lack of evidence could undermine the credibility of the claims presented and, consequently, affect the overall trustworthiness of the article.
Societal Impact and Community Response
The debate surrounding the photograph may resonate particularly with communities interested in historical accuracy, journalism ethics, and the representation of war. Groups who value media integrity may be more inclined to support the idea of reassessing authorship in light of new information. Conversely, those who view the original attribution as a part of historical legacy may react defensively.
Broader Implications for Media and Politics
The implications of this story could extend beyond photography, affecting public trust in media institutions. If proven that the attribution was incorrect, it could prompt broader discussions about the ethics of journalism and the importance of accurate historical records. The article may also influence discussions around the representation of war in media, potentially impacting how future conflicts are documented and portrayed.
Potential Economic and Market Impact
While this specific article may not have immediate impacts on financial markets, it could influence stocks related to media companies, particularly those with historical archives or interests in war journalism. If the claims gain traction, companies involved in the production of the documentary or related media could see increased interest and investment.
Global Power Dynamics and Relevance
This article touches on the global power dynamics of historical representation, especially concerning the Vietnam War, a conflict that continues to have implications for U.S.-Vietnam relations. The discussion of authorship may spark renewed interest in historical narratives that shape current geopolitical perspectives.
Use of AI in News Writing
It is possible that AI tools were utilized in crafting this article, particularly in analyzing the visual and technical evidence referenced. AI might have aided in organizing the information or generating context around the historical significance of the photograph. However, the article's tone and approach to the subject matter appear to reflect human editorial decisions rather than purely algorithmic outputs.
In conclusion, the article raises significant questions about photographic attribution and the ethics of journalism in relation to historical narratives. It encourages a critical reevaluation of what has been accepted as truth, while also demonstrating the complexities involved in understanding media representations of war.