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Fotografische Augenzeugenschaft Fotografische Augenzeugenschaft Ethische und ästhetische Perspektiven im World Press Photo-Wettbewerbsarchiv Dissertation zur Erlangung des Grades einer Doktorin der Philosophie am Fachbereich Geschichts- und Kulturwissenschaften der Freien Universität Berlin vorgelegt von Elisabeth Maria Hofmann Berlin 2015 Erster Gutachter: Professor Dr. Klaus Krüger Zweiter Gutachter: Professor Dr. Peter Geimer Tag der Disputation: 13. Juni 2016 Inhalt: I Einführung (a) Problemstellung und Begriffe …………………………………………………. 3 (b) In medias res: der Libanonkrieg 2006 im World Press Photo-Archiv ………... 8 (c) Struktur und Methode ……………………………………………………..…. 13 II Fotojournalistische Praktiken in theoretischer und historischer Perspektive 1. Das fotografische Bild im World Press Photo-Wettbewerbsarchiv (a) Von der Wirklichkeitsfotografie zur Kulturtechnik ………………..………… 21 (b) Zur Relevanz der journalistischen Fotografie ………………………………... 26 Exkurs über Frames und Stereotypen ……………………………………………. 32 (c) World Press Photo als Universalsprache, Archiv und Wettbewerb ………….. 35 2. Humanitäre und humanistische Traditionen fotografischer Augenzeugenschaft (a) Programmatik des fotografischen Humanismus: The Family of Man ……….. 41 (b) Humanistische Fotografie und Ideologie in der Kritik ………………………. 46 (c) Fotogeschichtliche Revisionen humanistischer Fotografie …………………... 51 3. Diskursive Transformationen in den World Press Photo-Jahrbüchern und Newslettern (a) Witz und Pathos der universellen Sprache (1960er und 70er Jahre) ……….... 60 (b) Institutionelle Diplomatie und stilistische Vielfalt (1980er Jahre) …………... 67 (c) Pluralität und Subjektivität der Perspektiven (1990er Jahre) ………………… 74 (d) Historisierung und Verwissenschaftlichung (1995/2005) ……………...……. 82 Exkurs über fotokritische und medienethische Kontexte ………………………... 89 III Fotografische Augenzeugenschaft im World Press Photo-Wettbewerbsarchiv 4 Fotojournalistische Autorität und Anonymität (a) Autorschaften zwischen Fotoarchiv und Fotoalbum ……………………….... 97 (b) Subversivität anonymer Fotografien ……………………………………...… 105 Exkurs über die Ikonografie der Hinrichtung …………………………………... 108 (c) Anonyme Subversionen fotojournalistischer Kontexte ………………...…... 111 5 Integrative versus invasive Bildstrategien (a) Perspektiven der Identifikation …………………………………………...… 115 (b) Invasions-, Fremd- und Insiderperspektiven im Irakkrieg 2003 ……………. 123 6 Ästhetische Grenzen und Entgrenzungen (a) Visuelle und visualisierte Tabus ……………………………………………. 131 (b) Ereignisse im Abseits: fotografische Irritationen …………………………... 140 (c) Fotografie und Forensik …………………………………………………….. 153 IV Ethik und Ästhetik der fotografischen Augenzeugenschaft 7 Zeugenschaft und distanzierte Betrachtung (a) Ethische Räume der Fotografie ……………………………………………... 160 (b) Zur historischen Medialität der Verantwortung …………………………….. 169 (c) Unentschuldbarkeit im medialen und sozialen Kontext ………………...….. 173 8 Medienkritische Revisionen des Leidens in der Fotografie (a) Abstumpfung und Rechtfertigung ……………………………………...…… 178 (b) Ästhetisierung und Ethik des Schönen …...………………………………… 182 (c) Diskurse der Wertung ………………………………………………………. 188 9 Fotografische Augenzeugenschaft in Migrationen (a) Flüchtlingsikonografien …………..………………………………………… 191 Exkurs über die Gesichter der Flucht im Kosovokrieg 1998/1999 …………….. 197 (b) Visuelle Architekturen der Migration ………………………………………. 205 (c) Transitorische Heimaten ……………………………………………………. 215 (d) Fotografische Migrationen ………………………………………………….. 227 V Schlussbetrachtung (a) Testify: Resümee mit Rücksicht auf einen Song ……......…………………... 239 (b) Ausblick zur Zeitgenossenschaft ……………………...……………………. 246 ANHANG 1 Abbildungsverzeichnis ……………………………………………………………….. 250 2 Literaturverzeichnis (a) Texte ………………………………………………………………………… 291 (b) Audiovisuelle Medien …………………………………………………..…... 317 (c) Webseiten ………………………………………………………………...…. 317 3 Zusammenfassungen ………….……………………………………………..……..… 319 4 Danksagung ………………………………………………………………...……...…. 323 5 Lebenslauf ……………………………………………………………...……..……… 324 I Einführung Journalism has discovered that the camera is one of its most powerful tools. A picture can often tell more than thousands of words, and a picture made by photography implies by its method of production a basis of fact. All know that such an implication is untrue, but everyone accepts the photograph as the pictorial evidence of an eye-witness – the cameraman. (Beaumont Newhall, 1938) Problemstellung und Begriffe Der erste World Press Photo-Wettbewerb fand 1955 in Amsterdam statt, veranstal- tet von der Niederländischen Vereinigung der Fotoreporter (NVF) anlässlich ihres 25. Jubiläums. Zu dieser Zeit existierte die internationale Fotografenagentur Magnum Photos bereits seit acht Jahren. Als Zusammenschluss von freien Fotojournalisten ohne vertragliche Bindungen an Zeitungen und Magazine wurde Magnum Photos zur Qualitäts- marke für Reportagefotografien mit individuellen ethischen und ästhetischen Anssprüchen. Parallel dazu entwickelte sich World Press Photo unter der 1960 gegründeten gleichnami- gen Stiftung zum größten und renommiertesten Wettbewerb für journalistische Fotografie.1 In weiterer fotohistorischer Zeitgenossenschaft ist die ebenfalls im Jahr 1955 im New Yorker Museum of Modern Art (MoMA) eröffnete Fotoausstellung „The Family of Man“ bemerkenswert. Die im Anschluss jahrelang durch zahlreiche Museen der Welt tourende Sammlung von fotografischen Bildern ‚des Menschen„ wurde 2003 in das Weltdokumen- tenerbe der UNESCO aufgenommen.2 Somit koinzidiert die Gründung des World Press Photo-Wettbewerbes mit fotogeschichtlichen Ereignissen und Institutionalisierungen, die nachhaltig die Bedeutung der journalistischen Fotografie beeinflussen. Den historischen Kontext bilden die Verhandlungen um menschenrechtliche und humanitäre Abkommen, die einen politischen Minimalkonsens zwischen den konkurrierenden Machtinteressen im ersten Jahrzehnt nach dem Zweiten Weltkrieg herstellen sollten. Innerhalb dieser kulturhis- torischen Bedingungen ist das traditionelle humanistische Ethos der journalistischen Fotografie zu verorten. Die so motivierte fotojournalistische Praxis zeigt, wie eng die 1 Die Geschichte der Stiftung World Press Photo mit einer statistischen Vollerhebung der thematischen Struktur der Wettbewerbsbilder bietet Alexander Godulla: Fokus World Press Photo. Eine Längsschnittanalyse „ausgezeichneter“ Pressefotografie von 1955 bis 2006, Diss. Universität Eichstätt- Ingolstadt, 2009. Online unter https://opus4.kobv.de/opus4-ku-eichstaett/frontdoor/index/index/docId/27 (abgerufen am 11.5.2015). Darüber hinaus sind Fakten zum Wettbewerb auch dem Onlinearchiv zu entnehmen: http://www.archive.worldpressphoto.org/ (abgerufen am 11.5.2015). 2 http://www.steichencollections.lu/de/The-Family-of-Man (abgerufen am 7.4.2015). 3 Suche nach einer politischen und sozialen Lebensrealität mit ästhetischen Fragestellungen verbunden ist. Die dafür grundlegende Ästhetik der einzelnen Fotografien verschwindet jedoch sowohl in den empirischen Analysen der Medien- und Kommunikationswissen- schaften als auch in den Schwerpunktsetzungen der kunstwissenschaftlichen Forschungen. In letzteren ist der World Press Photo-Wettbewerb ein Repräsentant der massenmedialen Bildproduktion, der vor allem als Negativfolie für künstlerisch komplexe und tiefgründige Projekte in den Blick gerät.3 Demgegenüber sollen die in dieser Arbeit unternommenen Einblicke in das Wettbewerbsarchiv zeigen, dass der Fotojournalismus äußerst heterogene ästhetische Perspektiven umfasst, die eine pauschale Abwertung nicht rechtfertigen. Dabei geht es nicht um eine Integration dieser Bilder in den kunstwissenschaftlichen oder foto- theoretischen Diskurs, sondern um eine Öffnung dieser akademischen Disziplinen für die Lebensweltlichkeit und auch Popularität der journalistischen Fotografie. Fotojournalistische Praktiken erzeugen und vermittelen visuelle Wirklichkeiten des Humanen, indem das fotografische Verfahren die kulturell determinierte Optik des menschlichen Auges ins Bild umsetzt. Somit setzt die fotografische Augenzeugenschaft genau das voraus, was die Fotografien zu entdecken versprechen. Auf diese Weise ist das Selbstverständnis der fotojournalistischen Praxis in ebenso kongenialer wie prekärer Weise mit ihrem Gegenstand verbunden. Als einer der frühesten Fotohistoriker hat Beaumont Newhall in einem Aufsatz von 1938 diese intrikate Beziehung in dem Berufsbild des Fotojournalisten als Augenzeugen formuliert: „A picture […] made by photography implies by its method of production a basis of fact. All know that such an implication is untrue, but everyone accepts the photograph as the pictorial evidence of an eye-witness – the cameraman.“4 Diese Vorstellung tradiert und institutionalisiert der Band zum fünfund- zwanzigjährigen Bestehen von World Press Photo mit dem Titel „Eye witness“.5 Auch die folgenden Jahrbücher von 1986 bis 1993 tragen auf dem Cover den Schriftzug „Augenzeu- gen“. Das Buch zum vierzigjährigen Jubiläum im Jahr 1995 erweitert das historiografische Sinnbild vom fotografierenden Augenzeugen in der titelgebenden Metapher vom „Spiegel der Kritik“. Somit visualisiert die Augenzeugin das Geschehen vor Ort in Fotografien, die dann einem zumeist entfernten Publikum zeigen, „wie sich das Rad der Geschichte dreht“.6 Die Bilder geben Gelegenheit darüber zu reflektieren und zu resümieren, was sich im 3 Vor der Negativfolie des Fotojournalismus werden beispielsweise die Arbeiten von Luc Delahaye, Thomas Hirschhorn, Alfredo Jaar, Sopie Riestelhueber, Alan Sekula, Bruno Serralongue und
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