Lila Rajiva: "Iraqi Women and Torture, Theater That Educates, News That Propagandizes": July 31, 2004
"It is the ambiguity in our ideas of representation that lies at the heart of the Abu Ghraib torture scandal and prevents us from seeing how the act of photographing naked detainees would in itself have been seen as rape by Iraqis, even aside from the specific use intended for the photographs. Knowing the past use of photography in interrogation techniques passed on by CIA trainers to intelligence agencies like the Shah's notorious Savak, [1] it would have been only too credible to many that the photos were being used to blackmail and coerce through the threat of public exposure or publication on porn sites. If that indeed was the case, and there is evidence to suggest as much, then it is our distinction between physical rape and "virtual" rape that may be questionable. Representations of sex or rape are a far more complex phenomenon than the acts themselves for they lend themselves to reproduction and transformation. It is no longer simply a question of whether some incident or photo is a hoax or genuine but whether, even if it is a hoax, it is genuinely a hoax, that is, one designed simply to mislead, such as the Jessica Lynch story, or to cast a doubt on what is real, such as perhaps the fake rape pictures, or is instead intended to bolster what really is factual. Conversely, even if something is genuine, one now needs to ask whether it has in some way been set up or staged. One needs to know if it is being used to promote something false, in the way in which the dismantling of the Saddam statue was manipulated to give the impression that a reprise of the fall of communism in Soviet Russia was under way. Things are no longer what they seem but what they can be made to seem. And to make something other than what it is to manipulate it, to coerce it. Ultimately then what we are talking about is the operation of power through images. Abu Ghraib is the locus where several dynamics of power come together like spokes in a wheel: the dynamic between a conquering and a conquered people; that between an expansionist religion or world-view and a defensive one; that between the active gaze of the male role and the passive objectification of the female; and finally, that between the producer of information, pornography, or violence and its consumer. To sustain these dynamics, one needs images; for the images to have effect, the dynamics need to be in play. In this interplay, the rumors of rape, fed by the widespread stripping and photographing of detainees cannot be dismissed. They point to the way in which power is employed by the victor not simply in the traditional methods of war -- from bombing to torture -- but also in the creation and imposition of imagery that effaces and replaces the subjectivity of the defeated people with a new reality, one that defines them as abject and dispossessed of their selves."
[Iraq Occupation Watch]
The picture at the right is a photograph taken through the scope of a sniper rifle. The dark vertical and horizontal lines with small dots or "clicks" are for aiming. The abuse described in the article below was first discovered and photographed through an American sniper's rifle.
On the morning of June 29, Oregon guardsmen set off from their base near the Interior Ministry on routine neighborhood patrols. Lookouts climbed towers ringing the base, and scouts took their usual positions in hidden vantage points around the neighborhoods of east Baghdad, looking for threats and signs of trouble. One of the scouts posted in a tall building squinted through his rifle scope at the courtyard adjoining the Interior Ministry. He saw a man in plainclothes standing over a handcuffed and blindfolded prisoner. The guardsman watched through his rifle scope as the man reared back and brought what appeared to be a stick or metal rod down on the prisoner, who was lying on the ground. The scout took pictures through his scope and considered his options. [...] he radioed battalion headquarters to report the beating. [...]
Phillips compares this incident to the
[Disturbing, graphic images showing the body and severed head of Paul Johnson are
with its gloating tone and its threat of more such acts. Americans must know without doubt, without flinching, without averted eyes, that threat's gravity and inhumanity. [...] The photos published in Saturday's edition should offend and horrify you."
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