The image is burned within we have lost consciousness. The image, which is often referred to as the “Napalm girl,” shows a nine -year -old Kim Phuc Run naked and scream on the road at Trang Bang, South Vietnam. His body is burned with a flammable bombing of a fire bomb. Shortly before, the pilots had incorrectly left their fierce burden on the positions of the partners, and seriously injured the civilians. The event is very strange – a girl wearing clothes and four other children running in pain and fear passing the uniform men; The dark atmosphere and clouds of the apocalyptic bomb-which has been endured for decades as a war-resisting icon.
In the last few weeks, however, the nature of the image has been the basis of all its war. The war has basically challenged the Associated Press with a squad of journalists and journalists against a group of independent filmmakers. Their disagreement has been caused by allegations made in the new film, The Stringer, which had its first world show on Saturday at the Sundance Film Festival. The film aims to prove that the former AP journalist Nick ut, Who for more than half a century has been credited with taking a picture of “Napalm Girl”, did not take the picture. Representatives from the AP, and ut himself, strongly deny the allegations, although none of them, reach this text, who has seen the film.
The film claims that the 1972 photo was instead produced by the Contractor: A Vietnamese photographer who was working in NBC at the time, who presented his unplanned film to the Associated Press Office in Saigon.
The AP, according to the document, edited the film, selecting the image that was immediately identified as unusual. The service published what would be a popular chapter, and posted it on news networks. The image would be published in newspapers around the world. The fiancée who says in the film was also in partnership with NBC at the time, insists that the next day he returned to the office and was given a $ 20 fee per frame (as usual). Practice), as well as photo printing.
Nick Ut was praised for the image, and eventually won the Pulitzer award for him. But by the estimation of the filmmakers, it is more likely to be taken by NGUYEN THANH NGHE, An American -trained war photographer and cinema who, as shown in a film shown in the film, was also present on the day the photo was made on the 1st highway, in Trang Bang village.
The turmoil of the resulting photography has been huge. One side is Associated Press; A group of the most respected veteran journalists who wrote war news in southeast Asia; By Nick Ut (at the time he was 21, now 73 years old), a hero in Vietnam and a longtime US resident whose attorney tells me he is considering the case. “I’m confident,” the lawyer says James Hornstein, “That we have a strong case of defamation. In our opinion, it was not done.” On January 15, the AP issued a 22 -page cinematic critic. The report includes a testimony of seven Witnesses on the road that day or at the Saigon AP office, who all told the news agency that they believe UT took the picture. The AP examination sets everything from smoke and wind systems that day to its labeling system in a dark room. His conclusion: “In the absence of new, persuasive evidence on the contrary, the AP has no reason to trust anyone except UT photographed.” (UT rejected the request for interrogation for this copy, but in a statement to Vf He said he confirmed that the “memory” of the AP counterparts is correct and “it is certainly taken the picture and was given the reputation accordingly for doing so.”)
On the other side of the discussion is the filmmaker Bao Nguyen, US Vietnamese Director who made it last year The largest night in the pop; Carl Robinson, Photo editor at work on the day of the blast; photographer Gary Knight, co -founder of the VII photo agent as well as the narrator and main producer of the film – who, as well as Terri Lichstein, Fiona Turner, and Le van, It collected much evidence in the movement to confirm the film thesis; Photo examination team; And the 86 -year -old Nghe, who, in a camera interview, gives his own details of taking the picture – just to remove his writing, he says.
On the day the photo was captured, Nghe says in the film, Ut is the only person at the scene with a camera who was officially on the AP staff. According to NGHE, Horst Faas, AP’s chief photography in Saigon, who died in 2012 – “The Big Guy,” as NGHE calls him in the film – he trusted the NGHE image to UT. Credit exchange, in NGHE’s opinion, was “Purpose. I knew immediately.” A source knowing the AP Protocol states that singers would give their film office, get fees, and often their names to be attached to their photos.
This is what happened, according to Robinson, who was managing the photo desk that day. “I have carried this load for 50 years and have never been in public,” he insists on the movies. “In short, Nick didn’t take that popular picture.”
When Robinson saw a photo made, showing the children running, he says he laughed. His first answer, he claims on the camera, was: “We can’t use it,” based on the sensitivity of the baby to show the baby. “The full front picture came from the rope. I looked at her name. There was a picture from Nick Ut that showed the girl running, from the side angle, and That It really was my choice, because it was unique. “When Robinson’s boss, Faas, returned from his lunch break, he was shown a picture of Kim Phuc running on the road. Robinson says,” He saw it, and he was like –Bang-‘That’s what we go with.’ There was no question about it. It was his call. And he was the boss. “
“And then I started writing notes. I was reaching the end. I had about four lines. of the attacker— “And Horst Faas, who was standing next to me said, ‘Nick Ut. Make it ‘workers.’ Make it Nick ut. ‘ And that has been with me all my life, those words….
The one who tends to be a photographer, continues, “was an unknown striker. He was not part of our ordinary army of attackers. It was not a name I knew, so I didn’t remember it. ”
Photo journalist David Burnett, Then 25, he was also on the site when Kim Phuc came to appear. He refused to participate in the film. Its version of the events, as it was related to the AP investigation, is not in line with the idea of another photographer to take on an important shape: “Burnett saw the troops … running in front of others and starting to photograph like Kim Phuc and other children came out of the smoke … . [Burnett] He said. ” Additionally, Burnett, like UT, his film was processed in the dark room of the office that day. Just as Burnett would write in the 2012 piece of Washington Post, He recalls the event: “Nick Ut came out of the black room, holding a small copy, which is still the rain of his best picture: Kim’s 5-7 edition running with his brothers to avoid burning Napalm. We were the first eyes to see the picture; It would be another full day before the whole world saw it on around 1 of each magazine. ‘”
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