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 courses. during this intensely considerate memoir, Spencer Mitchell probes the motivations that impelled her, a unmarried, Jewish girl, to record the turmoil roiling the Arab international within the Eighties and Nineteen Nineties, in addition to how her studies as a photojournalist "compelled [me] to put aside [my] cameras and reexamine the best way photographs are created, scenes are framed, and the way 'real lifestyles' is packaged for particular information stories." at risk Pay, Spencer Mitchell takes us on a harrowing trip to PLO army education camps for Palestinian teenagers and to refugee camps within the Gaza Strip earlier than, 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 center jap leaders, specifically Yasser Arafat and King Hussein of Jordan, with whom Spencer Mitchell built shut operating relationships. And we witness Spencer Mitchell's growing to be conviction that the Western media's portrayal of conflicts within the heart East truly is helping to gas these conflicts--a conviction that finally, 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 quandary approximately "the triumph of snapshot over truth" takes on better urgency as our wisdom of the area turns into ever extra filtered by way of digital media.
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Additional resources for Danger Pay: Memoir of a Photojournalist in the Middle East, 1984-1994 (Focus on American History)
Why are you here? ” “There’s nothing here for you. Move to Denmark. Move to Jordan. ” “Why would you live here? ” “I’m staying,” I say. indd 18 d a n g e r p ay n pa r t o n e 9/26/08 2:45:44 PM 3 Crossing the Bridge (november 1984) I’ve been in Israel one month now. I’m thirty, an outsider, and alone. Yet I feel connected to everything—the sounds, smells, and faces, the dust and the relentless sun that drives white-hot shafts of glaring light through the shimmering heat, leaching nearly every scene I squint at.
Her mother marches over, and in a faintly strained American voice whispers to her child to hush, use whatever there is, and for God’s sake, don’t sit on anything—which would be difficult anyway since the toilet is nothing more than a hole in the ground. Before we leave I glance into the other room, where a bunch of flimsy mattresses are piled against the wall for the fourteen people who live here. Yet even at night, when the mattresses are spread out on the floor, there is neither privacy nor peace.
You are the ones who can decide. ” At times, he seems to be an actor who carts his theater with him, constantly recreating his role as the embodiment of Palestinian tragedy. And in fact, Arafat’s histrionics, broadcast live to the region for the first time, prove so popular that nearly 2 million Palestinians living in refugee camps in Jordan, Syria, Lebanon, the West Bank, and the Gaza Strip position themselves in front of their television sets throughout the three-day conference—which is exactly what the chairman wants as he stages his stirring reelection.