The Napalm Girl: A Documentary Challenges a Photographic Icon
At the 2023 Sundance film Festival, a new documentary titled “The Stringer” thrust the iconic “napalm girl” photograph back into the spotlight, igniting a debate that has reverberated across the journalistic and photographic world. For the first time in over five decades, Nguyen Thanh Nghe, a freelance photographer from Vietnam, has stepped forward to claim authorship of the Pulitzer Prize-winning image, contradicting the long-held attribution to Associated Press (AP) staff photographer Nick Ut.
Nghe, during a post-screening Q&A, stated thru a translator, “I took the photo.” The claim, met with enthusiastic applause from the audience, has sent shockwaves through the media, forcing a re-examination of one of the moast powerful images of the Vietnam War.
The documentary’s intriguing narrative depicts Nghe as a driver for an NBC news crew on June 8, 1972, the day the now-infamous photograph of Kim Phuc running through the streets of Trang Bang, fleeing a napalm attack, was captured. Nghe asserts that he sold his photo to the AP for $20,though the print given to him was later destroyed by his wife.
The AP, for its part, maintains its unwavering stance on the image’s authorship, emphasizing their commitment to ancient accuracy. A spokesperson for the AP, Lauren Easton, expressed their surprise and disappointment over the film’s portrayal of their involvement. “As recently as December, we reiterated our request to see the filmmakers’ full materials and they did not respond, nor did they include AP’s full response in the film,” Easton stated. “We were surprised and disappointed that the film portrayed AP as having reviewed the film’s materials and being dismissive of the allegations, which is fully false.”
prior to the film’s release, the AP had conducted an extensive six-month examination and concluded that there was no reason to believe anyone other than Ut took the photograph. The news agency is now issuing a call for the filmmakers to release their contributors from non-disclosure agreements, allowing for a transparent and complete review of the newly presented evidence.
“AP stands ready to review any and all evidence and new details about this photo,” Easton declared.
Bao Nguyen, the Vietnamese American filmmaker behind “The Stringer,” emphasizes that while he approaches the subject with journalistic integrity, his primary motivation stems from a desire to elevate the stories of individuals like Nghe. “I’m not a journalist by any stretch of the creativity,” Nguyen states. “I had a healthy skepticism, as I think anyone would, going against a 53-year-old truth. … But as a storyteller and a filmmaker, I thought it was my both or my obligation and my privilege to be able to uplift the story of individuals like Nghe.”
This ongoing controversy surrounding the authorship of the “napalm girl” photograph highlights the importance of historical accuracy and the complexities surrounding the attribution of images in the digital age. As the investigation unfolds, one thing remains certain: the “napalm girl” image will continue to provoke thought and debate, reminding us of the enduring power of photography to capture the essence of human experience, both in its beauty and its tragedy.
A documentary claiming that the iconic “Napalm Girl” photo was not taken by Nick Ut has ignited controversy and debate. The film, which premiered at the Sundance Film Festival, presents evidence suggesting that another photographer, a mystery individual named Nghe, captured the haunting image of a young Kim Phuc fleeing a napalm attack. This claim directly challenges the long-held narrative of Ut, a renowned Associated Press photographer, as the photo’s originator.The documentary features interviews with those who worked closely with AP in Saigon at the time, raising questions about the circumstances surrounding the photo’s origin. Carl Robinson, a former AP photo editor, alleges that he was pressured by Horst Faas, AP’s Saigon chief of photos, to credit Ut despite his doubts about the photographer’s presence at the scene.
This explosive allegation has sparked a fierce reaction from Ut’s attorney, James Hornstein, who stated that “In due course, we will proceed to right this wrong in a courtroom where Nick Ut’s reputation will be vindicated.”
Adding fuel to the fire,the filmmakers enlisted a French forensics team to analyze the scene depicted in the photograph. Their conclusion was that it was highly unlikely Ut could have taken the picture from the position he allegedly occupied.
Simultaneously occurring, the Associated Press remains resolute in supporting Ut’s authorship, asserting that they conducted their own thorough investigation and stand by their original claims. In response to the documentary’s claims,an AP representative stated: “They said they’re open always to examining the truth. And I think it was a very reasonable thing to say,”
The documentary’s director, speaking at the Sundance Institute, underscored the urgency of bringing this story to light.He stated, “I didn’t wont to die before this story came out. I wanted to find (Nghe) and say sorry.” This poignant confession highlights the emotional weight of the documentary’s allegations and the filmmaker’s personal stake in uncovering the truth.
The controversy surrounding the “Napalm Girl” photo is a testament to the power of images to shape historical narratives and the importance of scrutinizing those narratives with a critical eye. As the documentary director stated, uncovering the truth is paramount.
The Stringer: Exploring the Intricacies of On-the-Ground Reporting
In the world of journalism, capturing raw, unfiltered moments requires a unique breed of reporter: one who thrives in the heat of the action. These individuals, often referred to as “stringers,” provide vital perspectives and firsthand accounts from the ground, shaping our understanding of events as they unfold. While their work is frequently enough behind-the-scenes, their contributions are invaluable to the journalistic landscape.
One such upcoming project, “The Stringer,” promises to delve into the lives and experiences of these unsung heroes. The film, while yet to have a confirmed release date, aims to shed light on the challenges and rewards they face in their pursuit of truth.
“Things happen in the field in the heat of the moment…
We’re all stronger if we examine ourselves, ask tough questions, and we’re open and honest about what goes on in our profession. Now more than ever, I would argue,”
How does “The stringer” aim too shed light on the often-overlooked contributions of independent journalists?
The Stringer: An Interview With Bao Nguyen
Bao Nguyen,the Vietnamese American filmmaker behind the upcoming documentary “The Stringer,” sat down with Archyde to discuss his latest project.
The film promises to explore the lives of “stringers,” journalists who work independently, often in high-risk environments, contributing vital on-the-ground reporting.
“The Stringer” is a timely project in a world grappling with the evolving landscape of journalism. Nguyen delves into the unique challenges adn rewards faced by these unsung heroes.
Archyde: Why were you drawn to the story of stringers for your new film?
Bao Nguyen: I’ve always been fascinated by the stories told from the ground up. I wanted to shed light on the individuals who often work behind the scenes, bringing crucial details to the world.
Stringers operate in precarious environments, facing danger and adversity to deliver authentic accounts of events. I believe their experiences deserve to be seen and heard.
Archyde: what are some of the biggest challenges stringers face in their work?
Bao Nguyen: Stringers often work with limited resources and face immense pressure to deliver accurate and timely information, often under difficult circumstances. They may not have the same level of support or protection as full-time journalists employed by major organizations.
There’s also a constant risk, especially when reporting on conflicts or sensitive issues.
What makes their contributions so vital to the journalistic landscape?
Bao Nguyen: Stringers offer a unique perspective. They are deeply embedded in their communities, possessing firsthand knowledge and insights that can be invaluable for understanding events as they unfold.
Their on-the-ground work often provides context and nuance that broader narratives may miss.
I wanted to create a film that not only shares their stories but also helps the public understand the importance of their contributions to journalism.
