Podcasts about anja niedringhaus

Köster, Bettina www.deutschlandfunk.de, @mediasres

Am 4. April 2014 wurde die Pulitzer-Preisträgerin Anja Niedringhaus in Afghanistan erschossen. "Nach Redaktionsschluss" macht Osterpause, hat aber einen klaren Hörtipp. Krebbers, Martin www.deutschlandfunk.de, @mediasres

Video-Version Aus der Preshow: on the line, Weihnachtsvorbereitungen, App-O-Kalypse Fast immer dienstags, gerne mal um 18:00 Uhr: Happy Shooting Live. Täglich im Slack mitmachen – auch Audio-/Videokommentare werden gern angenommen. #Followup von Hendrik zur Rechtssache: Auf Nachfrage scheint es erledigt #hsfrage von Manuel: Gibt es schon happyshooting.de/gude ? #hsfrage : Filmtipp Film über Anja Niedringhaus … „#832 – Tetrisbalken mit Farbverlauf“ weiterlesen Der Beitrag #832 – Tetrisbalken mit Farbverlauf ist ursprünglich hier erschienen: Happy Shooting - Der Foto-Podcast.

Video-Version Aus der Preshow: on the line, Weihnachtsvorbereitungen, App-O-Kalypse Fast immer dienstags, gerne mal um 18:00 Uhr: Happy Shooting Live. Täglich im Slack mitmachen – auch Audio-/Videokommentare werden gern angenommen. #Followup von Hendrik zur Rechtssache: Auf Nachfrage scheint es erledigt #hsfrage von Manuel: Gibt es schon happyshooting.de/gude ? #hsfrage : Filmtipp Film über Anja Niedringhaus … „#832 – Tetrisbalken mit Farbverlauf“ weiterlesen Der Beitrag #832 – Tetrisbalken mit Farbverlauf ist ursprünglich hier erschienen: Happy Shooting - Der Foto-Podcast.

Soutenez So Sweet Planet et accédez à vos contenus exclusifs et vos épisodes sans publicité :https://www.patreon.com/sosweetplanetInterview et visite commentée !Cet épisode de So Sweet Planet est consacré à une la belle exposition "Femmes photographes de guerre" et pour en parler je suis sur place, au musée de la Libération de Paris – musée du général Leclerc – musée Jean Moulin avec la commissaire générale de cette exposition, Sylvie Zaidman, historienne, conservatrice générale, directrice du musée de la Libération de Paris.Si la photographie de guerre est une profession dominée par les hommes, de nombreuses femmes photographes ont cependant travaillé dans les zones de guerre. Elles ont documenté les crises mondiales et ont joué un rôle décisif dans la formation de l'image de la guerre. Dans les territoires de conflits, contrairement aux hommes, ces femmes ont souvent eu accès aux familles, dont elles ont réalisé des portraits particulièrement émouvants. Elles ont également été activessur le front et pris des photos de victimes de guerre qui n'épargnent pas l'observateur.Cette exposition présente les oeuvres de huit femmes photographes reconnues - Lee Miller, Gerda Taro, Catherine Leroy, Christine Spengler, Françoise Demulder, Susan Meiselas, Carolyn Cole, Anja Niedringhaus - qui ont couvert 75 ans de conflits internationaux entre 1936 et 2011. À l'aide d'une centaine de documents, plus de 80 photographies, ainsi qu'une douzaine de journaux et de magazines originaux, l'exposition met en évidence l'implication des femmes dans tous les conflits, qu'elles soient combattantes, victimes ou témoins. L'exposition questionne la notion de genre, interroge la spécificité du regard féminin sur la guerre, bouscule certains stéréotypes, montre que les femmes sont tout autant passeuses d'images que témoins de l'atroce. Et certaines y ont laissé la vie, comme Gerda Taro et plus récemment, Anja Niedringhaus.Ces photographes, dont les oeuvres vont des conflits européens des années 1930 et 1940 aux guerres internationales les plus récentes, font appel à une grande variété stylistique et narrative. Leurs approches alternent entre le maintien d'une distance objective, le constat et l'implication personnelle.L'exposition aborde aussi une problématique partagée par les correspondants de guerre : comment témoigner de la sauvagerie de la guerre ? Faut-il passer par une vision crue ou par une euphémisation formelle ? Autant de questions qui permettent de découvrir sous de nouveaux angles le travail de ces femmes, de réfléchir sur les intentions des photographes et les impératifs de la presse, entre autres.FEMMES PHOTOGRAPHES DE GUERREdu 8 mars au 31 décembre 2022Musée de la Libération de Paris – musée du général Leclerc – musée Jean Moulin4, avenue du Colonel Rol TanguyPlace Denfert Rochereau - 75014 ParisTél : 01 71 28 34 70Du mardi au dimanche de 10h à 18hhttps://www.museeliberation-leclerc-moulin.paris.fr/So Sweet Planet, un site et un podcast indépendants.Soutenez So Sweet Planet et accédez à vos contenus exclusifs :https://www.patreon.com/sosweetplanet Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

There is the dream of finding funding for your film and then there's the reality of how it happens.  In this episode, Leslie and Sonya break down the process of making a documentary, discuss historical Jewish stories, working in Afghanistan, finding the right editor and much more.SONYA WINTERBERG is an award-winning writer and documentary director with roots in Finland and Germany. For most of her career, her work focused on women and children in armed conflicts and post-war situations. Sonya reported on major news events such as the aftermath of the war in Bosnia, the 2005 Kashmir earthquake, Hurricane Katrina and the resettlement of refugees and IDPs to villages across Afghanistan. She has been involved in a number of German television events such as the acclaimed ARD television documentary series “Kriegskinder” (Children of War, 2009) for which she co-authored the companion book. She was also on the team that conceptualized and wrote the online special for the international award-winning series “14 – Diaries of the Great War”. Her latest works include “Dark Business. Child trafficking in the heart of Europe” (2018) and “Made in Auschwitz. The Untold Story of the Women of Block 10” (2019) that won the Best Documentary Award at LA FEMME. For the past three years she has worked on a documentary on the late AP-photographer and Pulitzer Prize winner Anja Niedringhaus who was killed on assignment in Afghanistan in 2014. Sonya lives in Halifax, Nova Scotia. 

Anne Marie Beckmann. Direktorin und Kuratorin der Deutsche Börse Photography Foundation in Frankfurt am Main. Zitate aus dem Gespräch: »Viele erleben Ereignisse nur noch, um davon ein Bild zu machen.« »Die Betrachtung von Fotografie ist ein Dialog zwischen dem, was der Künstler zeigt, und dem, was man schon gesehen hat.« »Die Vermittlung von fotografischen Bildern war von Anfang an zentrales Thema der Sammlung.« »Natürlich kommen die Fragen: Habt ihr nicht was leichteres, was dekoratives?« »Die Kunst ist bei uns nicht selbstverständlich da, wo sie ist.« »Die langfristige Wirkung und Kraft eines Bildes sind mir sehr wichtig.« »Ich sehe die Sammlung als einen gesamten Körper.« »Jede neue Werkgruppe sollte eine eigenständige Sichtweise auf eine Thematik haben und gleichzeitig anknüpfen, was bereits in der Sammlung ist.« »Wir sammeln in die Tiefe. Es geht um den Dialog.« »Ich glaube der Bilderkanon in unserem Kopf ist begrenzt.« »Jetzt wird immer noch einfach unterschätzt, welche schöpferische Kraft hinter dem Medium steckt.« Anne-Marie Beckmann ist Kunsthistorikerin und Kuratorin. Sie ist in Köln geboren und studierte Kunstgeschichte in Frankfurt am Main. Seit 1999 verantwortet sie die Art Collection Deutsche Börse und das kulturelle Programm des Unternehmens. Sie kuratierte nicht nur zahlreiche Ausstellungen für die Sammlung der Deutschen Börse, sondern auch für andere Museen und Institutionen. Seit 2012 ist sie Mitglied im Kuratoren-Team der Ray Fotografie Triennale Frankfurt am Main. Zuletzt war sie Co-Kuratorin der Ausstellungen »Fotografinnen an der Front. Von Lee Miller bis Anja Niedringhaus« für das Museum Kunstpalast im Jahr 2019, sowie »Open for Business. Magnum photographers on commission« für die Rencontres de la Photographie in Arles im Jahr 2020. Anne-Marie Beckmann ist Mitherausgeberin von sechs Sammlungskatalogen (XL Photography 1-6), erschienen zwischen 2000 und 2019. Sie lehrt Fotografie an der Hochschule für Gestaltung in Offenbach. Seit August 2015 ist sie Direktorin der Deutsche Börse Photography Foundation. https://www.deutscheboersephotographyfoundation.org/ https://ray2021.de/en/ Episoden-Cover-Gestaltung: Andy Scholz Episoden-Cover-Foto: Privat Konzept, Idee, Produktion, Redaktion, Moderation: Andy Scholz http://fotografieneudenken.de/ https://www.instagram.com/fotografieneudenken/ Der Podcast ist eine Produktion von STUDIO ANDY SCHOLZ 2021. Der Initiator ist Andy Scholz, Jahrgang 1971, geboren in Varel am Jadebusen. Er studierte Philosophie und Medienwissenschaften in Düsseldorf, Kunst und Fotografie in Essen an der Folkwang Universität der Künste (ehemals Gesamthochschule Duisburg-Essen) u.a. bei Jörg Sasse und Bernhard Prinz. Andy Scholz ist freier Künstler, Autor sowie künstlerischer Leiter und Kurator vom FESTIVAL FOTOGRAFISCHER BILDER, das er gemeinsam mit Martin Rosner 2016 in Regensburg gründete. Seit 2012 unterrichtete er an verschiedenen Instituten. U.a. Universität Regensburg, Fachhochschule Würzburg, North Dakota State University in Fargo (USA), Philipps-Universität Marburg, Ruhr Universität Bochum. Er lebt und arbeitet in Essen. https://festival-fotografischer-bilder.de/ http://fotografieneudenken.de/ https://www.instagram.com/fotografieneudenken/ http://andyscholz.com/ https://vimeo.com/andyscholz http://photography-now.com/exhibition/147186

Fast zwanzig Jahre lang war Anja Niedringhaus als Fotojournalistin in Kriegsgebieten unterwegs. Als sie am 4. April 2014 einen Konvoi in der Proviz Chost begleitet, eröffnet ein afghanischer Polizist das Feuer auf den Wagen, in dem die Fotografin sitzt.

Ihre Fotos gehen um die Welt: Bosnien, Gaza-Streifen. Irak. Immer wieder Afghanistan. Nichts kann die aus Höxter stammende Fotografin davon abhalten, ihr Leben für gute Bilder aufs Spiel zu setzen. Mehrfach wird sie bei ihren Einsätzen verletzt. Sie stirbt 2014 bei einem Attentat in Afghanistan. Autorin: Andrea Kath

Caroyln Cole dokumentierte kurz nach dem Sturz Saddam Husseins die Stadt Bagdad. Lee Miller fotografierte im Auftrag der Vogue den Vormarsch gegen die Deutschen im zweiten Weltkrieg. Zwei unterschiedliche Zeiten, zwei unterschiedliche Kriege. Was sie gemeinsam haben: die Bilder gingen um die Welt und prägten die Sicht darauf. Das Fotomuseum Winterthur zeigt aktuell die Ausstellung «Fotografinnen an der Front - von Lee Miller bis Anja Niedringhaus». Susanne Grädel bespricht im Interview mit der Museumsdirektorin Nadine Wietlisbach welche Hürden die Kriegsfotografinnen überwinden mussten und inwiefern die ausgestellten Fotografien auch heute noch Grenzen sprengen können. Foto: Fotomuseum Winterthur

EDITORS NOTE – This Mort Report Extra is a basic guide for keeping track of the world. It is long. Headlines are only headlines; news summaries and snippets are not enough for seeing detailed distant reality. We can read Sophocles in crib notes, but that risks missing the part about Oedipus poking out his own eyes. PARIS – The noble ostrich is impressive to watch loping along an African savannah at 50 miles an hour, but its survival strategy needs work. With head in the sand and tail in the air, it risks ending up skinned for some rich guy’s cowboy boots or maybe a Mar-a-Lago golf bag. My recent piece about the White House jihad on truth prompted one reader to remark that Donald Trump’s slurs resonate because “the msm (mainstream media) is no longer trustworthy or helpful.” Big news companies make up a single collective to be dismissed out of hand. Here’s a parallel: The smc (supermarket chains) no longer provide nutritious food. Of course, they do. Choice is up to each shopper. Those who load up their carts with only Twinkies and canned spaghetti can hardly blame the store. The “mainstream” is shot full of failings, but its broad reach provides essential basic coverage. That’s a start. Countless other sources add detail, verify or dispute facts, fill in context and sketch human backdrops. Anyone who fails to grasp global realities isn’t trying hard enough. This is a primer to help make sense of an unruly world. With threats of nuclear High Noon, climatic catastrophes, conflict on five continents, desperate millions on the move and fierce competition for dwindling resources, nothing matters more. In 2004, when far less was at stake, British editor Andrew Marr noted in his book, “My Trade,” that many people he knew ignored newspapers and dismissed broadcast news as mindless nonsense. They focus instead on their families, busy daily lives and local charity. “This is not good enough,” Marr wrote. “We are either players in open, democratic societies, all playing a part in their ultimate direction, or we are deserters.” Back then, A.J. Liebling’s quip was still true: freedom of the press is guaranteed only to those who own one. Anyone can play now, and that is a mixed blessing. “Journalist” is now as meaningless a word as “media.” We need to know who is telling us what – and why. The Web is a delivery system, not a source. People would be leery if some stranger on the street in a clown suit and floppy shoes bloviated about places he couldn’t pronounce. But clueless self-appointed experts on TV or computer screens receive far less scrutiny. Early on, Google claimed to offer news from 5,000 providers. But if, say, hostilities broke out in Kashmir, that meant 4,998 “outlets” riffed on the same dispatches from the AP and Reuters stringers in Srinagar. These days, such secondhand sourcing is beyond measure. Too many people now think news, unlike food, comes at no cost. And too many purveyors oblige with generic “content” packed in paid pitches and political cant. With a free lunch, it is hard to complain about quality. Much solid reporting comes at no charge, but we need to scale a few paywalls. We also have to budget our time. Nearly every substantive story comes with time-consuming kibitzing that also passes for journalism. Reveal, an arm of the California-based Center for Investigative Reporting, spent months documenting hidden safety issues at Tesla. The gold-standard CIR, founded in 1977 as the first U.S. investigative journalism nonprofit, relies on reporters and editors of proven credibility. Elon Musk, the man behind Tesla, fired off a series of tweets calling journalists corrupt and cowardly. The CIR, he said, was “just some rich kids in Berkeley who took their political science prof too seriously.” (It’s in Emeryville.) Jack Shafer, a kibitzer for Politico, fired back. He called Musk is a media assassin, not a critic, an example of nouveau-billionaires who think reporters should be fawning PR flacks. True enough. But he wrote, “Journalists love nothing more than to be slapped around (and) Musk’s sustained caning…has brought nothing but sunshine and smiles to newsrooms all over America.” Shafer speaks only for himself. Kathy Gannon, for one, does not love being slapped around. After 18 years in Afghanistan, she knows what “shoot the messenger” can mean. An Afghan cop shot up her car in 2014, killing her friend, photographer Anja Niedringhaus, and wounding her badly. After long, painful rehabilitation, she hurried back to Kabul. Gannon undermines another generality. Associated Press has axed experienced reporters to save money. It slashes travel expenses and often relies on untested stringers. Yet she is among top-quality AP pros who stay at their jobs. AP – like the “msm” – is neither all bad nor all good. AP illustrates how the global mediascape has evolved. During my 38 years of employ until 2005, we jokingly called it the A&P, a major grocery chain. It was a supermarket of news, cooperatively owned by newspapers and broadcasters that shared costs. Along with big stories, it kept track of small ones percolating under the surface before they erupted into “breaking news.” As its members saw profits decline, AP shifted focus to big projects with bragging rights and various “profit centers,” leaving too many world-changing trends and events uncovered. It can be excellent. And not. Newspapers also reinvented themselves, mostly cutting staff and shifting to “hyperlocal” coverage. A new breed of owners broke up family-founded chains forged by hard-earned public trust. Hedge fund hogs plundered. Shady magnates bought papers to push their own interests. A few dailies are now better than ever. Some try hard with what they’ve got. Many are a disgrace. Television news has changed beyond recognition. Once three U.S. networks kept large bureaus abroad. Walter Cronkite at CBS was the most trusted man in America. Today, CBS’s website lists only lone correspondents in Rome, Istanbul and Beijing. Four work from the London hub, where stories from elsewhere are often narrated from the studio, with purchased footage not from CBS crews.  (ABC and NBC staff reporters also cluster in London. It’s “foreign.”) Cronkite likely prolonged the Vietnam War at first by believing the Washington line rather than correspondents on the ground. But, a real journalist, he went to see for himself. He found a stalemate, and national sentiment shifted. Cronkite’s trademark tagline at the end of his newscasts, “And that’s the way it is,” defined the times. America had to take him and others at their word. Big media set the agenda, with a smattering of smaller papers, radio networks and freelancers as a counterbalance. Logically, countless interactive multimedia sources that speed words and images from everywhere would reflect a clear picture of the world. In fact, it allows people to form whatever picture comforts their beliefs. And with tools to measure what resonates, media executives try to give people what they want. Late in May, a Harvard study said Hurricane Maria killed 4,645 people in Puerto Rico, 70 times more than the official count. Beyond the human cost, it defies belief that a government so outrageously masks the toll of its feeble response. Yet CNN devoted 12 minutes to that story and nearly five hours to Roseanne Barr getting cancelled. MSNBC was not much better. Pandering to have-it-your-way news is a boon to despots. Anything that thwarts their narrative is labeled fake, feeding distrust of all “media.”  Trump’s campaign resonates with hardline tyrants and wannabe demagogues everywhere – particularly in Russia. David Ignatius, who spent decades as a foreign correspondent and then edited the International Herald Tribune before analyzing world affairs for the Washington Post, summed it up in a column about Arkady Babchenko, who miraculously returned from death: “When a prominent Russian journalist fakes news about his own murder to try to expose the Kremlin’s misdeeds, you know something has gone dangerously wrong in what we like to call the free marketplace of ideas. These days, it has become a battle space where anything goes.” Babchenko falsified his death with help from Ukrainian agents to elude Russian thugs. It worked. But reporters have enough trouble remaining credible, and alive, without an activist-journalist whose ploy, in effect, helps Vladimir Putin dismiss actual murders as hoaxes. Here are some thoughts on shaping a reality-based worldview, a framework that fits together odd shaped pieces into a quickly changing kaleidoscope: –Triangulate the way reporters do. When a new story breaks, check it against another version and add a third. As it develops, look for informed analysis that probes its broader meaning. Beyond who, what and where, look for why and what next. –Consider wider implications. A lifeless child on a beach in Turkey is only one dramatic symptom of diplomatic failure, needless conflict, economic imbalances, corruption, xenophobia. and, increasingly, a changing climate has been ignored for too long. –Subscribe to The New York Times. You need it, and it needs you. There is much to criticize. It makes mistakes, some serious, but it does not willfully distort or fabricate. It provides unmatched global coverage, with online graphics, visuals and data sets. Its archives give historical context. “The failing New York Times” is a Trump whopper. He has made it boom. It is publicly traded but still controlled by a newspaper family faithful to old principles. –Add The Washington Post for the cost of a few drinks in a fancy bar. It hounds Trump because that is a newspaper’s role. Its fact checkers found he made 3,251 false or misleading claims in 497 days, some clear-cut grounds for impeachment. I’m troubled by a publisher who also dominates a global empire of cheap books and canned beans. But Marty Baron is as good as editors get, and Jeff Bezos stays out of his way. Times’ editor Dean Baquet jokes that the new Post motto, Democracy Dies In Darkness, is a little grim. Maybe, but it’s true. The two editors cooperate as much as they compete. –No list can begin to be comprehensive, but I’ve got a few favorites. The New Yorker is worth whatever it costs. Look abroad. Britain’s The Guardian, free if you choose not to contribute, is a vital outsider’s eye on America and the wider world. Talk to friends and poke around. Try Germany’s Spiegel Online for probing analysis, interviews and hard-reporting at length. India’s The Hindu, with a circulation of 1.2 million, focuses on human factors behind the news, with a staff of savvy correspondents. –TV is tough to characterize. For me, BBC is best, with reporters and anchors whose faces often reflect a hard life on the road. Funded by a TV tax, it avoids disguising paid messages as editorial product and obnoxious chest-thumping. Which brings up CNN. Its focus on Trump’s campaign boosted ratings – and likely swayed the election. CNN can be excellent. Some of its correspondents are rock solid. Christiane Amanpour, who earned her chops in scary places, gets to the heart of what matters. Fareed Zakaria’s analyses are good enough to make you forget he backed the Iraq invasion. (“Any stirring of the pot is good.”) But keep a remote handy in case Richard Quest pops up. –Non-profit groups dig into specific subjects, with deeply reported investigations.  ProPublica, the Center of Public Integrity and Reveal are among some good ones based in America. The International Consortium of Investigative Journalists, which produced the Panama Papers and much else, relies on a network of others across the world. These groups collaborate with NPR and PBS. Independents such as Amy Goodman add to the mix. –Read books for a broad view of the world to help you tune out peripheral noise. Today’s biggest story “broke” five centuries ago when Leonardo da Vinci nailed it. By tracing the flow of water and winds, he saw that humans live in sync with a single ecosystem. If that balance tips, no one will survive. Then, as now, deluded leaders fail to get this. We need reliable eyes and ears beyond every horizon. Real journalists are driven by curiosity, commitment, ethics, and a deeply ingrained horror of getting things wrong. Some young reporters seize this immediately. Some old ones never do. The trick for readers is to determine which is which. For more on Mort log on to https://www.mortreport.org/about/  

A conversation with Kathy Gannon, veteran Associated Press correspondent who was shot and seriously wounded in Afghanistan in 2014 in an attack by an Afghan policeman in which her AP colleague, photographer Anja Niedringhaus, was killed. On June 8, 2015, Gannon was the keynote speaker at the annual rededication of the Newseum’s Journalists Memorial.

This week, we discuss obsession as both a motivator and a meditation and whether or not photography might be just one big performance. Also, do you worry about what you’re not shooting as much as what you are? Plus, living for your resume vs. your eulogy. Pulitzer Prize-winning photojournalist Anja Niedringhaus is our Photographer of the Week.

This week, we discuss obsession as both a motivator and a meditation and whether or not photography might be just one big performance. Also, do you worry about what you're not shooting as much as what you are? Plus, living for your resume vs. your eulogy. Pulitzer Prize-winning photojournalist Anja Niedringhaus is our Photographer of the Week.