David Douglas Duncan's Changing Views on War: an Audio-Visual

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AUTHOR Politowski, Richard TITLE - David Douglas Duncan's Changing Views'on War: An Audio-Visual Presentation. PUB DATE 78 NOTE 25p.; Paper presented at the AnnualMeeting of the Associaticn for Education in Journalism(62nd, Houston, Texas, August 5-8, 1979)

EDRS PRIC2 MF01/PCe1 Plus Postage. DESCRIPTORS *Changing Attitudes; *MultimediaInstructionC Photographs; Slides; *War IDENTIFIERS *DuncaA (David Douglas)

ABSTRACT This paper is the script for a slldepresentation abcut photographer Davld Douglas Duncanand his view of war. It is intended to be used with slides madefrom pictures Duncan took during World War II, the Korean War, and the warin Viet Nam and published in various books and periodicals. Itdiscusses a shift in emphasis to be seen both in the pictures and inthe text written ky Duncan in which he increasingly portrayed thesuffering and death of war. It concludes by saying that Duncan in hispictures did not oppose war it. general but opposed the sentiventalizing orglorifying of war. (T43)

**************************************e.******************************* Reproductions supplied by EDRS are the best that canbe made from the original document. *********************************************************************** S CIIPARTMENTOR /ALM. OUCATION s we NATIONAL INSTITUTEOR EDUCATION HAS SEEN RHSSO. THIS DOCUMENT FROM DUCED EXACTL YAS RECEIVED OROANaATIOt. ORIGIN- THE PERSON OR CPINiONS MING IT POINTSOT VIE*OR NE( ESSARIL 'TFPRE sT ATI D DO NOT INSTIT.11$ st NT OFIC lAt NATIONAL Out A .ON POS1ON OR POl It

LIN rft. DAVID DOUGLAS DUNCAN'SCHANGING VIEWS ON WAR

Lu . ) anaudio-4sua1presentation

Richard Politowski Michigan StateUniversity

PERMISSION "O ILE PRODUCATHIS MATERIAL HAS BEEN GRAN D BY ElchArsLEolitowski

0 THF ELAICATIONALRI ';OURGP; iNf AT ON C.1 t1 T 1 It RIC,

V) David Douglas Duncan'sChanging Views on War

SLIDES TEXT It's the wounded thatwreck 1. Name only "The dead are dead. four. us. Ike Fenton's bloodshot, angryeyes swept the bearers had just been 2. Ika Fenton empty foxholeswhere the stretcher at work, thenstopped on me. 'Okay, get your pictures. But for Christ'ssake don't getwounded.' He tore open

his K-rations. 'How about killed? Ike Fenton almost 1 smiled. We were old friends." David Douglas Duncan,American 3..Title Over a 25-year span, photographer andcorrespondent, photographedand wrote about three major wars in ourtime -- World War II,the Korean

War, and the war in Vietnam. Although Duncan has many accomplishments besides his warphotography, this

presentation-portrays andanalyzes the developmentof

ncan's personal attitudetowards war. Conclusions are

drwn chieflyfrom his photographs,but also from his fItings for magazinesand the texts which accompany the photographs in hisbooks. City, Missouri, in1916. 4. Portrait Duncan was born in Kansas From the beginning,Duncan wasstrong-willed and independent. he claims to In his pictorialautobiography Yankee Nomad, have been "expelledfrom school so oftenthat his presence I 2

in class foi a fullunbroken month was consideredbather

unusual."2 Of his boyhood in Kansas CityDuncan wrote, "In all the land, the wholeisolated land, there was perhaps no place more remotefrom reality,.or happier, than Kansas City, Missouri, myhometown.° the University of Arizona 5. Portrait In 1933 Duncan entered intending to major inarchaeology. There he took his

first photographs with aBakelite, thirty-nine-cent camera,

a birthdayg4ft from his younger sisterJean.4The pictures were of a fire atthe Congress Hotel inTucson.

They rhcluded one .of amiddle-aged man who was attempting

to re-enter cheburning hotel to recover asuitcase. The following day Duncan read inthe paper that JohnDillinger

and his gang had beenflushed out of the hotel bythe fire

and realized his cameracontained still undevelopedpictures In Yankee Nomad he wrote, 6. Portrait of the attempted escape. "Later I was to improve onhitting newsbreaks with

pictures."5 A love ofwildiife stemming from boyhoodcompelled Duncan to tv-sfer tothe Univsrsity of Miamithe following year tc major inzoology. In 1936 he won secondprize in

a Kodak snapshotcontest for a pictureof a Mexican fisherman caating his net. With the money from this

prize he purchased betterphoto equipment and began to fill his spare time withpicture-taking. In a letter to his parents,"Today, 7. Portrait dated March 7, 1938, he wrote I graduated. Bachelor of Arts, Universityof Miami, 3

mid-teri, no formalities. Zoology and Spaaish. They'll

. . except I intend send the diploma later. That's it .

to be aphotographer."6' After graduation, Duncantook part in several

nature photographyexpeditions Which includedgiant turtle . fishing and a broadbillswordfish study. Several of hl.s

photo stories fram theseexpeditions were subsequently published in rational Geographic. Duncan's draft board gavehim permission to leave

the country in 1940 todo advertising photographyin Latin

America for Pan AmericanAirways.7While working in Latin American, he madeseveral unsuccessful attempts toobtain

a draftdeferment because, as hestated in a letter to thought he "could best servehis President Roosevelt, he A c=ntry as arepresentative in LatinAmerica. On Da#id Douglas Dundan was wornin as 8. Letter February 17, 1943, States Marine Corps a SecondL1eutenant in the United

Reserve. .9 The religious toneof Duncan'slitter home announcing his enlistment wasnot out-of-keepingwith

letters he receivedfrom his parents.. His mother, less

than a monthbefore this, wrote,"The Bible says 'the

fervent prayer of arighteous man availethmuch ' I'm

no man, am nottoo sure I'mrighteous, but I'mpreying fervently every day that you mayfind your right place

and be satisfied init."9 Similarly, his father wrote David's him less than sixmonths after hisenlistment, "May songs bring youcomfort and peace and an un tanding .10 heart.

r 4

After basic training, Duncan was putin command

of a photo unit. His longing for more activeduty was satisfied when he was given aspecial commission to

photograph the entire operationsof the South-Pacific

Combat Air Transport Command(known as SCAT) on January 11 20, 1944. To his parents he wrote,"I shall now South 9. Jungle photograph Marine Corpsaviation throughout the fighter Pacific. Perhaps the finest complimentof all is that

I've .been turned loose onthe assignment with nostrings

attached. Much like those jobs Idid for Pan American .12 of adventure and Airways . With a boyhood sense independence which photography gavehim and an almost

religious sense of missionwhich being a Marineinspired

in him, Dunpan beganhis career as a warphotographer. Most of Duncan's WorldWar II photographs were

never publishedand are not readilyavailable for examination. This is because they weretaken under governmentassignment. However, three articlesby Duncan illustratedwith his

own photographsfrom the war were publishedin 1945. Bougainville," 10. Double The first of thesewUs "Fiji Patrol on appearing in 'the Januaryedition of NationalGeographic. Duncan wrote in the article,"I was a United StatesMarine, being flown by an Armypilot, going to join acampaign u13 gives a with Fiji islanders. The text of the article firsthand account of theIbu campaign onBougainville.

Among the photographs areportraits of some of thejungle "Scowl and fighters. The one on theleft was captioned,

gun lurk inambush -- he killed 50Japanese."14

6 5

i'Food Floats Down from the Heavens," 11. Parachute Under a subtitle Duncan describes theparachute drops of food andmilitary supplies to this SolamonIslands outpost against the is also reported on 12. Planaiug Japanese. Planning military strategy and illustrated in thearticle. But surprisingly,al:though

the text of the article coverssome of theintensity of

the Ibu campaign, inwhich Duncan himselfparticipated

both as photographer andfighter, none of the accompanying photos portray combat orviolence.

The military, almostpatriotic emphasis of the

article is most dramaticallyrepresented by its concluding colonel had guided his 13. Departure paragraph: "For sixty days the men acrossthe largest of theSolamon Islands, through the heart of enemy country. With the loss of only one man

he had fulfilledhis miFtsion. He had proved thatthe thousands of Japs onBougainville, neutralizedby our

troops at EmpressAugust Bay, can beleft to 'die on

thevine."15 from Bougainville werepublithed 14. Mah with gun Similar pictures in Yankee Named,Duncan's pictorialautobiography. Bougainville and the Fijiwarriors was also thetopic

of a second article,this one published inThe Saturday Evening Post in March,1945. Entitled "The GreatestJungle

Fighters of All," thearticle opens with adescription Nishino. A private in theJapanese 15. Group of the death of Nichi reading a dirty army, Nishiao wascaught off guard while Coldly book somewhere deepin the Bougainvillejungle. quick death and without compassionDuncan describes the of the unfortunateJapanese private. Mostlyheildeand- shoulders portraits ofthe Fiji fighters accompanythe

text. had completed thefirst 16. MP By April, 1944, Duncan phase of his specialphotographic assignment withSCAT, A year the South-PacificCombat Air TransportCommand. later he was assigned tospecial aviation duty to photograph combat aviationfram the air. This took

him to OkinaWa andresulted in an articlefor the October 1945, National Geographic. The si..ort two pagesof text

gives an almosttourist's view of Okinawa,especially

in light of thefirst subtitle which says,"Island Reminds 16 But the pictures -- atleast some 17. Refugees Americans of Home." of them -- show Americanmilitary interaction withthe refugess and islanders. In addition,there'is movement of military but non-combatphotographs. The only 18. U.S. some purely soldiers photograph in the entirearticle to portray anyof the real violence of waris a pictuie ofwrecked Japanese published with the 19. Wreck plane. According to the caption photograph, the Marineis looking forJapanese name plates

and scavenging for scrapmetal to make bracelets. Airfield in Okinawa,Duncan 20. Airfield Frm the Yontan 17 completed at least 19 separatephotographic missions.

Some of them weredone from a specialplastic-nosed tank tied under the leftwing of a single-seatP-38 fighter Taylor. According to YankeeNomad, 21. Capsule piloted by Major Ed He Duncan was thrilledwith these aerialexpeditions. I want to fly. wrote to his parents,"Now it's the only way 7

And pictures! Ed nuzzled right up .to eachattacking

22! Bombing Corsair as the boys blasted enemyartillery positions with broadsides of rocketsand firebombs, so close I could look right over thefighter pflots' gunsights.

Thmard polltred on full throttleand flew us straight 1118 through the exploding targets -- at400 miles per hour. of.World War LI 23. Cliffs Duncan's only published photo showing dead or woundedsoldiers shows the cliffs on

a beach in southern Okinawa afterthe last day of official ,

fighting in the Pacific. Because louncare was photographing

them from the air, thebodies area at a great distance; .

both physicallyandiisychologically, from the photographer

and the viewer. In later wars, death andsuffering would

be portrayed moredlrectly.

24. Formation Just before thecloseof the war, Duncan photographed 1119 what 'le termed the"naked act of treason. In a series of pictures published 20 yearslater in Yankee Nomad, officer voluntarily leading a 25. Bombs Duncan showed a Japanese bombing mission againsthis own headquarters. The Japanese officer had walked into theAmerican lines at Mindanao. of 1945 marked the 26.Letter The surrender of Japan in August end of World War II. Duncan was among thefirst to land

on the Japaneseshore. Because of his connectionswita military brasr:, he managed tobe aboard 27.Surrender some of the top 20 the U.S.S. Missourifor Japan's officialsurrender. By the end of World WarII, Duncan's war coverage by a strong emphasis onmilitary operations 28.Somber was characterized with an apparentlyindifferent attitude towardsthe suffering

9 04411111111...0.1

r. and death engendered by war. AlthoUgh this could have4 been due to the editing byths popular magazines,Duncan's Nomad showsappioximately the same kinds - 29. Refugees own book Yankee of pictures for this period. And, wheil thii is considered . .s in light of the postscriptto Yankee Nomad inwhich Duncan

claims to have obtainedfrom 'the Marines "everywartime 21 it is not difficult to 30. Landing shot" taken for the Marines, conclude that Duncan probablyaid not photograph suffering

and death to any greatextent in World War II. joLled Life maga;ine as a .31. Headlines After the war, Duncan photographer. In 1950, he was sent to coverthe war in appeared Korea. His first report tothe United States in the July 10, 1950,issue of Life. The dominant picture Lieutenant Robett T. Wayne 32. Plane on theopening spread shows telling Sergeant Jim Brotharshow he shot down twoRussian- In contrast, thesmall lead . made Yak fighters nearSeoul. Lieutenant Charles P.Moran who, 33. Dazed picture shows a dazed pilot Duncan reported, shotdown *he first invadingplane of made the Korean War. Duncan wrote,"Something in his face "22 me grab aquick shot. Although the aeadline andthe dominant picturesof military operations, 34. Refugees this article aredirectly concerned with the main focus of the texris evacuation of theforeign

civilians and thedisplacement of Koreancitizens.

At one point Duncanremarks, "When I came upon an sitting while theireldest son :15..Cart ancient couple serenely strained to,p4/l them tosafety, I felt nothingbut shame tied to at beingbigger)than all three and yet helplessly

0 7.

4 the tiny camera in myhands. These were not poverty- stricken peasants headedfrom an uncertain past to aless

certainfuttire but the entire.peopleof that section of u23 Korea where.lifP had beencasual and full-stamached. Duncan had.a second article 36. Formation dMe following week, in Life, entitled"Thunderbolts Along My Spine." It is a personal acCountof a jet fighter strikewhich Duncan photographed from &combatplane at 600 miles perhour. Duncan wrote, "It gave methe most acute feelingof being

lashed to a roCket of4Odawful strength. /t was one

helluva sensation andwonderful."24 Duncan's reaction to it are 37. Bombings This experience and reminiscent of his earlieraviation missions fromOkinawa.

The physical strainof traveling at such ahigh rate of speed was apparently toomuch ,for Duncan. He concludes

the article: "Iknew that for a shorttime I had actually ,

been. living inanother world, a worldwhich now lay beyond

me and intowhich I would neveragain set foot oncethe jet rolled to a stopin its place by thesquadron shack.

And I wasglad."25 "Is Formosa Next?" inearly 38. Fleet Under the heading gets ready August, 1950, Duncan wrotean analysisof the iob which He describes was facingthe Seventh Fleet inthe Pacific. 41. being how the inexperiencedAnnapolis graduates were formed by veteranWorld War II officersinto a "warlike 26 Duncan and purposeful"force. Aloft in a divebomber, witnessed the bombingof an enemy freighttrain almost Duncan refers to the Ilidden in a tunnel. In the artici

Li ...... 40 ..". 4.0*

-WP 1

.27 "poor miserable ostrich. One e") train's engineer as a article 39. Val:ling -of the few photographswhich accompanies the shaws a Grvman Pantherfighter landing on the carrier

Valley Forge. Againreflecting his military kackgroundin a Life

article entitled "Whe7.:*e27th Held the MarinesLaunch

Attack," Duncan wrote: "To 'the Varines,that:morning

of August 7 was important. It marked the eighth anniversary of their historiclanding on Guadalcanal,

the first Americanground offensive ofworld War /I. And it had been chosen asthe kickoff day for thefirst

large-scale tnfantryoffensive by the UnitedNations' 28 forces in this KoreanWar." shows Marines sleeping 40. Sleeping Although the lead picture the on a trainheaded for the front,the remainder of article is highlymilitaristic in approach. Duncan, along with an APcorrespondent, is sharing ahole which they both dug nearthe battlefront. Just when the

fighting seemed hopelessfor the Americans,Marine Corsair And Duncan concludes: "Rockets 41. Guns fighters joined thefray. whoomed down into the crags,wing cannons rippedoff burst first"taste upon burst,and the enemy begangetting his 29 of Marine medicine." Duncan's first photographsof human casualtiesin appeared in Life onSept. 11, 1950, in 42. Mother the Kore'an War entitled "The an articleabout the South Korean army Durable ROKs." The unit which Duncan:accompanied discusses unsuccessfully attackedHill 626. The brief text

p. or

the attack as well as sameof the casualties. Some of

the photographs portrayroutine operations of thefighting

unit. The closing photographof a wounded Korean woman nursing her infant sonis made even morepowerful by

Duncan's concluding sentence: "She had been told that her other son had justdied of wounds sufferedin the 30 same shellburst." photographic statement on 43. Headline Duncan's first personal war appeared onSeptember 18, 1950, and waslater expanded Duncan was follawing up 44. Cable into a book with the sametitle. The onan idea he had earlier wired tothe Life editors. story opens with anearly full-page pictureof Corporal because his Captain IkeFenton 43. Tears Leonard Hayworth in tears had no Dwre ammunition. Several weeks aftertaking the picture, Duncan brought a copyof the magazine back to been taken. He 46. Magazine the Baker Companywhere the photo had said one of the olderMarines, upon seeingit, remarked, "Hell! We all crysometime."31 article, 21 4. Sequence Using very few wordsin the seven-page photographs tell the storyof the war as theseMarines a dead experienced it. An American soldier encounters and then continuing 48. Detail enemy soldiet,pausing, drawing back, rrs his mission. The article closeswith a full-page picture being taken off in ajeep. n'ounded of a wounded Marine approximately a The bock, Thisis War!, appeared to the book,Duncan explains: 3,7). :itle yearlater. In the introduction conclusion to this "There is neitherclimax nor rigning of what a book. It is simply aneffort to show something

tri 12 .

with man endureswilen his country decides to go to war, or withouthis personal agreement onthe righteousness of

the cause.02And he concludes thissection, headed "In Explanation," by stating:"I wanted to show the way men

live, and die, whenthey know Death is amongthem, and

yet they stillfind the strength tocrawl forward armed the advance of menthey have 51. Close-up only with bayonets to stop never seen,with whom they have noimmediate quarrel,

men whowill kill them on sightif given firstchance."33 The book then beginswith a reprintingof the

text ofD'uncan's articles from Lifemagazine, with relatively minor revisionsand additions. Then Duncan and divides his Korean Warphotographs into three sets "The Hill" covers 52. Headline presents themunder three headings. called "The Battle ofNo-Name Ridge," 53. Hill what has came to be Photographs in one of thebloodiest fights inKorea.34 during the battle torecapture Seoul 54. Headline "The City" were made The closing section,"Retreat, HellI," 55. City from the Communists. Marines' devastatingmarch to 56. Headline covers theFirst Division vicious North Koreanwinter, after being 57: Retreat the sea in the Changjin attackedby the ChineseCommunists near the

Reservoir. earlier war photography 58. Tank Reminiscent of Duncan's maneuvers. are thepictures of themachinery and military pictures of smaller groupsof men 59. Two men Also prevalent are engaged in obviouslymilitary work. And there are the Marines. Many of these express 60. Face close-ups of individual which were not asevident strong emotional qualities World War II. 61. Hurt face in similarportraits from

-14 In! 13

with Numh portrayal of death andthe Marines' encounter differ most significantlyfrom 63. Encounter death are factors which Duncan's earlier war coverage. Each photograph of a about 64. Corpse wounded or dying soldieris a powerful statement the experiences of thesefighting man. Also different from Duncan's previous war coverageis the inclusionof. native people the waraffected 65. Victia emotional reactians from most. Over 16 years passedbefore Duncan wouldphotograph

his final major war,this time in Vietnam. In 1953 Duncanvisited Indochina onassignment for picture stories underthe title 66. Cememery Life. In six two-page "The Year of theSnake," Duncan reported onthe indifference and death of of the French staffofficers, the suffering local troops, socialcorruption, Frenchdependence on

American supplies,the failure ofUnited States civilian aid, and the Vietnamesedream ofindependence.35 On assignment forABC televisionand Life magazine,

Duncan returned toVietnam in 1967 tophotograph the war. published in late October, covers 67. Cover His first report, The the intensificationof the war aroundCon Thien. with this photo,and after several 68.Fudge 18-page articles opens wounded pages ofartillery fightingbegins to show the

69.Wounded and the dead. The closing textprovides a contrast tothe Wtote Duncan: 70. Strercher empathy arLd intensityof the photographs. letter to the families "In a way.I look on this storyas a 9th Regiment, and friends ofthe men of theThird Battalion, 3rd Marine Division. There aresOme pictures which are killed. But they 71. Smoking not easy to bear --of men wounded and areprofessionals, practicing atrade for which they

volunteered. In 10 days at ConThien -- though this seems hard to believe -- I neverheard any griping atbeing I. there. The men view Con Thienin the same light as and are proud andhappy to have 72. Relaxing Tarawa and Iwo Jima held this hillock in aremote land. It is a place Perhaps ,/ every one ofthem seemed tobelieve important.

my pictureswill add meaning tothe letters the men n36 themselves write home. follawing year, Duncan wasat 73. Barricade In February the approach Khe Sanh. The report inLife was similar in with military action. 74. Crying to the ConThien story, opening But there are nopictures of wounded ordying soldiers. picture, full-page,is of an American 75. Singing Instead, the closing it, "spirituals soldier singing tohimself, as Duncan put n37 loved since childhood. The text, haweyer,deals with death in a

straightforward manner. Like this: "As commonplace as of the thud ofincoming shells andthe gut-ripping roar rockets just over thehill is anattacking jet loosing killed at Khe Sanh. To learn ofthe 76. Death the idea of being at the trash death of a friend atthe air loading ramp, batallion aid station or dump, in hisfoxhole, at the is a normal anywhere, includingstanding next to you,

part ofdailylife."38

6 15

77. Title That same year, Duncan's Khe Sanh photographs were published in a little bookentitled/ Protest!. Alter an emphatically political introduction which closes with an open letter to the presidentconcerning the United4States' role in Vietnam, the book contains

anexpanded version of Duncan's Khe Sanh photographic war coverage, without text, captions, orheadlines.

78. Title The culmination of Duncan'sNietnam experiences was his third book on war, WarWithout Heroes. The book's

79. Dedication dedication is a reference to an event fromDuncan's Korean assignments. In Yanicee Namad, he tells of the "Marine, who when asked what he wanted mostfor Christmas, reached for words through his frczenlips, then answered,

'Give metomorraw.'"39 By way of incroductian, Duncan repeats part of the introduction toThis Is Wet from 20

years earlier. In addition, he includes a statementof his political views on the Vietnam.War, briefer,but in a large measure similar to the pointof view expressed in

I Protest!.

80. Sections The book is divided into four sections. The first is quite short and isbasically the same material covered in the 1953 Indochina articlefrom Life. The second section covers a small campaignof the war no: previouslypdblished.

The last two are alreadyfamiliar.

81. Tank The pictures.hemselves are reminiscent of much of the Korean phk,:Jgraphy,although they are displayed with rext in most cases. There are the familiar pictures

7 16 Jt1

the movement of troops. And there 82. Line of war machinery and are the closerpictures of smallernumbers of military portraits typical of 83. Monsoon men in action. The tight, emotional Pictures of wounded anddying 84. Face Duncan are also prevalent.

85. Dying are also givensignificant play. Beyond all of these,there is a type of photograph the 86. Helmet new to this war. These are pictures which are on And in a few places Duncan 87. Dipping lighter, almost humorous, side. speak. As Duncan 88. Apple combines the tragic with the comic, so to puts it for thesepictures, :Tarently thehappiest Marine

at Con Thien wasdying, too. Absent from the Vietnam

coverage arephotographs which depictnative Vietnamese suffering the tragic effects of war. fran the conclusions Duncanvould 89. Home is But humor'is far have us draw. As War Without Heroes nearsiis closing, - . the pictures become moresymbolic and moredespairing.

the book are at a KheSanh airfield . 90. Helicopter The fine: pictures in as rubbersacks containing b9diesof Marines killed in action au:ait helicoptertransportation. And then, Duncan echoing thereligioUs influences of his childhood, with a passage fromthe 91. Psalm closes his final book on war Book of Psalms, perhapssuggesting one man'spowerlessness in the face of the powerof war. Over his 25 yearsof war photography,Duncan's development which moves awayfrom the 92. Troops pictures show a purely military photos,the type he wasassigned,to do while a Marine in WorldWar II, to photographswhich attempt to movethe viewer withcompassion for the

; 8 17

suffeting human beingsportrayed. To achieve ats,

Duncan concentrates moreheavily on individuals and (and 93. Wounded small groups of peoplerather than overviews aerial views) of militarysituations. Nevertheless,

there is a consistentthread of military emphasisin his writing which giveshis 94.MacArthur both Duncan's photos and more emotionalphotographs a substantiationwhich only knowledge of a situation cangive. Speculation about the causesfor the shift in

Duncan's emphasis couldlead to some misleadingconclusions. For example, one may say that the changes in camera, beter, 95. Storm lens, and film technologyallawed Duncan to shoot more variedpictures in later wars. While it is true that faster film andfaster lenses, beginningwith the Korean War, wereavailable, the older Leic d.equipment in

use duringWorld War II couldstill have been used to photograph. wounded or deadsoldiers. attribute the increasedportrayal 96. Wounded One cannot merely of war suffering anddtath to editorialstaffs which kept To abreast of changingpublic acceptance ofsuch things.

do this is to forgetthat Duncan himselfdoes not show War" any of suchpictures in his ownbooks until "This is appeared in Life. What appears to be anemotional viewpoint inDuncan's

later war photographsis clarified by whathe says in the

texts which accampanyhis pictures. In This is War! he "This book is an effort to 97. Gaze states a generalpurpose: completely divorce thewnrd 'war' asflung dramatically

19 I

down off the highestbenches of every land,fram the look in the man!s eyes whoIs taking his lastpuff on

perhaps his last cigarette, perhaps forever, before he . grabs his rifle, his gutsand his dreams -- andattacks .41 an enemyposition above him. And Duncan has aspecific political message in

his Vietnam work. He states this quiteclearly in Vietnik, pinkie, Commie, 98. Pol7trait I Protestl. "I am no peacenik, I'm liberal, conservative,kook, hippie, hawk ordove. just a veteran combatphotographer and foreigncorrespondent who cares intenselyabout my country andthe role we are world of playing and assigning toourselves -- in the

today. And I want to shoutloud and clear protest at .42 what has happened atKhe Sanh, and in allof Vietnam. Korean and Vietnamphotographs 99., Bcot Most of Duncan's of speak to his general purpose. On the other hand, most his writing reveals amilitary bias or apolitical statice. Together they do notmake up a humanitarianviewpoint

opposing war ingeneral. Rather, they seem tobe opposing

the sentimentalizing orglorifying of war and its unnecessary orcareless implementation.

100. End 19

NOTES

1. David Douglas Duncan,Yailkee Nomad (New York: Holt, Rinehart,

& Winston, 1966), p.6. Hereafter referred to asNomad.

. .). 2. Ibid., p. 29, (orig.: . . . that sz presence,.

3. Ibid., p. 24.

. .) . frmn mz younger sister 4. Ibid., p.9, (orig.: . .

5. Ibid.

6. Ibid., p. 13.

7. Ibid., p. 77.

. .) . taxcountry 8. Ibid., p. 106,(orig.: . . best serve

9. Ibid., p.108.

10. Ibid., p.114.

11. Ibid., p. 118.

12. Ibid., p.119. Bougainville," National 13. David DouglasDuncan, "Fiji Patrol on Geographic, January 1945, p.87.

14. Ibid., p. 99.

15. Ibid., p. 96. Threshold to Japan,"National 16. David DouglasDuncan, "Okinawa, Geographic, October1945, p. 420.

17. Nomad, pp.174-175.

18. Ibid., p. 171.

19. Ibid., p. 178,

20. Ibid., p. 195.

21. Ibid., p. 447. 20

22. David Douglas Duncan,"The First Five Days," Life,July 10,.

1950, p. 20.

23. Ibid., p. 74.

24. David Douglas Duncan,"Thunderbolts Along My Spine,"Life, July 17, 1950, p. 28.

25. Ibid., p. 30.

26. David Douglas Duncan,"Is Formosa Next?," Life,August 6,

1950, p. 82.

27. Ibid., p. 85.

28. David Douglas Duncan,"Where 27th Held the MarinesLaunch Attack," Life, August 21,1950, p. 16.

29. Ibid., p. 30. David Douglas Duncan,"The Durable ROKs,"Life, September 11,

1950, p. 54.

31. Nomad, p. 7.

32. David Douglas Duncan,This is Warl (New York:New American Library, 1968), first pageof text, unnumbered.

33. Ibid, second pageof text.

34. Ibid.,firkpage of "The Hill." Snake," Life, August 3, 35. David DouglasDuncan, "The Year ol.; the 1953, pp. 73-85. Thien," 36. David DouglasDuncan, "Inside theCone of Fire -- Con Life, October 27, 1967, p.423. p.28B. 37. David DouglasDuncan, "Khe Sanh,"Life, February 23, 1968,

38. Ibid.

. . .) 39. Nomad, p. 306,(orig.: . Marine, when

40. Ibid., p. 118.

41. This is War!,first page. 4'41 21

New American Library, 42. David Douglas Duncan,I Protest (New York:

1968), first page,unnumbered. le a 22

BIBLIOGRAPHY'

Books Duncan, David Douglas. This is War!. New York: New American Library, 1968.

Yankee Nomad. New York: Holt, Rinehart, &Winston, 1966.

American Library, 1968. . I Protest!. New York: New

War Without Heroes. New York: Harper and Row,1970.

Periodicals Duncan, David Douglas. "Fiji Patrol on Bougainville," National Geographic, January 1945, pp.87-104.

"Greatest Jungle Fighters ofAll," itta.1152.10pailmlu Post, March 24, 1945, pp.28729\

"Okinawa, Threshold toJapan," National Geographic, October 1945, pp. 411-428

"The nrst Five Days,"Life, July 10, 1950, pp.19-27.

"Thunderbolts Along My Spine,"Life, July 17, 1950, pp. 27-31.

"Is Formosa Next?," Life, August 7,1950, pp. 82-83.

"Where 27th Held the MarinesLaunch Attack," Life, August 21, 1950, pp.16-17. 23

"The Durable ROKs," Life, September 11, 1950, pp.52-55.

Life, September 18, 1950, pp.41-47. . "This is War!,"

Life, August 3, 1953, pp.73-85. . "The Year of the Snake,"

"Inside the Cone of Fire --Con ThieA,"Life, October 27, 1967, pp. 28D-44.

"Khe Sanh," Life, February 23, 1968, pp.20-28C.

Picture Sources

Most of the photographsfot World War I/ weretaken from Yankee Nomad with some also from thetwo'NationalGeOkraphic.articles.

appeared in This'is For the Korean War,the bulk.of the photographs only when they War!. Pictures from theLife:articles were selected did not appear in theformer source.

All of the photographsfrom the Vietnam War wereselected frot War Without Heroes,although most of them alsoappeared in Life.