Images of crisis and the crisis of images

Abstract

The period 2015–2016 in Sweden (and beyond) became largely known as the refugee crisis – a construct readily associated with a negative event or a destabilizing period of time, which can affect both individuals and larger groups and societies. The term crisis came alongside the word ‘refugee’ – a pairing which is particularly loaded and comes with highly problematic political impositions. For example, how did people fleeing come to embody the term crisis? Media coverage of the events has been vast. Images and video material of boats crowded with de-faced and de-named black and brown bodies, images of indignity such as precarious living conditions and police abuse, as well as death and mourning. A common photographic style found in newspapers is that of a bird’s-eye view – shots taken ‘from above’, which create a link to National Geographic’s style of capturing ‘wild life’ that is present before our eyes yet too dangerous to approach closely. Importantly, these relationships are manifestations of power structures: the gaze of the photographer/film-maker directed at their subject, the counter gaze of the subject towards the photographer and the spectator of the image. There are also the gaze of the editors in charge of selecting the right image for publishing and, importantly, the gaze of the researcher while collecting and analysing these very images. Therefore, naming an event a refugee crisis is not only a matter of language, but also that of knowledge production and construction of specific realities. In relation to that, Rose (2016) argues that images offer worldviews – they are not innocent carriers of a message to the world, rather, they give us interpretations of the world that are carried out in very particular ways. In order to explore these worldviews, and as this chapter will further illustrate, I turn to study what I call the crisis of images in Swedish newspaper dailies Dagens Nyheter (DN) and Svenska Dagbladet (SvD). What I refer to as the crisis of images is embedded in the simplified, shock and threat inducing portrayal of the very complex issues of flight, whereby people on the move are often forced to embody stereotypical and violent imageries. Jelena Jovičić