MétaCan
Menu
Back to cohort
Record W4239039853 · doi:10.32920/ryerson.14645580

Abu Ghraib and the commemorative violence of war trophy photography

2021· preprint· en· W4239039853 on OpenAlexaff
Joey Brooke Jakob, Paul S. Moore

Bibliographic record

Venuenot available
Typepreprint
Languageen
FieldPsychology
TopicMemory, Trauma, and Commemoration
Canadian institutionsToronto Metropolitan UniversityUniversity of ManitobaUniversity of WinnipegCentre for Social InnovationYork University
Fundersnot available
KeywordsTrophyPhotographyPhotojournalismVisual cultureAdversaryNarrativeVisual artsMateriality (auditing)Spanish Civil WarMedia studiesHistorySociologyArtAestheticsLiteratureArchaeologyComputer science

Abstract

fetched live from OpenAlex

The photographs from the Abu Ghraib scandal are horrific, but they are also understandable. Simply put, the Abu Ghraib photos are purposeful compositions that highlight victory over the enemy Other in war. The photos illustrate sexual and racial violence, founded upon postcolonial narratives, but this is only a starting point for their significance. I address how meaning is made for the U.S. military personnel who took photographs of naked Iraqi detainees at Abu Ghraib, by looking backward to soldiers’ photography from WWI and II, and by considering soldiers’ online sharing of photographs in the present, examining roughly fifty photos total. The relationships between photographic materiality, emotional and gestural communication, and the production of cultural memory, disseminated via networked circulation, all shape how soldiers’ wartime photographs come to be regarded. Employing an interdisciplinary approach, this research draws upon war photography; visual culture and communication; sociology of groups and ritual; sociology of emotion; combat histories; memory studies; and online photo sharing practices. In so considering, the Abu Ghraib photos are not unique, and are instead grouped within the greater concept of the “war trophy.” I expand on this concept by defining “war trophy photography” as the entwined practices of war photography and trophy collection, rooted in ritual and group solidification. Staged to depict the violent conquering of the enemy, I argue that war trophy photography recognizes war efforts through the construction of a visual record, one that reproduces relations of dominance and submission. I call this representation “commemorative violence,” a central concept I develop to define the war trophy photograph. In addition to grounding the Abu Ghraib photos historically, I review their visual semiotic, cultural significance, such as with the “Doing a Lynndie” meme, which features civilians gesturing in thumbs-up toward a downtrodden individual, copying the same gesture as often used in the images from Abu Ghraib, and the now defunct site “Now That’s Fucked Up,” which briefly allowed soldiers in 2005 to trade gruesome war trophy pictures for pornography. The conclusion reflects on war trophy photography with the topical consideration of drones, ultimately suggesting that drone warfare photos are expressionless because of the overt absence of people.

Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.

How this classification was reachedexpand

Full frame distilled prediction

Teacher imitation

Not calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.

metaresearch head score (Codex)0.001
metaresearch head score (Gemma)0.000
Version: codex-gemma-dda1882f352aValidation status: machine_predicted_unvalidated
Candidate categoriesInsufficient payload (model declined to judge)
Consensus categoriesnone
DomainCandidate signal: none · Consensus signal: none
Study designCandidate signal: Qualitative · Consensus signal: Qualitative
GenreCandidate signal: Empirical · Consensus signal: Empirical
Teacher disagreement score0.321
Threshold uncertainty score1.000

Codex and Gemma teacher scores by category

CategoryCodexGemma
Metaresearch0.0010.000
Meta-epidemiology (narrow)0.0000.000
Meta-epidemiology (broad)0.0010.000
Bibliometrics0.0000.000
Science and technology studies0.0000.001
Scholarly communication0.0000.000
Open science0.0000.000
Research integrity0.0000.001
Insufficient payload (model declined to judge)0.0010.000

Machine scores (provisional)

The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.

Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.

Opus teacher head0.028
GPT teacher head0.304
Teacher spread0.276 · how far apart the two teachers sit on this one work
Validation statusscore_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it

Classification

machine, unvalidated

Machine predicted; a candidate call from one teacher head, not a consensus.

Study designQualitative
Domainnot available
GenreEmpirical

How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".

Quick stats

Citations0
Published2021
Admission routes1
Has abstractyes

Explore more

Same topicMemory, Trauma, and CommemorationFrench-language works237,207