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Additional resources for Liberal Democracies at War: Conflict and Representation

Sample text

66 It is found in France too, but it had been abandoned in 1915 in favour of the gritty realism of the soldiers’ photographs. 68 The drawings particularly heighten the epic aspect. 69 These numerous epic drawings bathe the reader in a mood of adventure, action and camaraderie, annulling the potential realism of the few morbid documents that might be found next to them. The quantitative absence of provoking snapshots, along with the thematic choices of the pictures and their immersion into an epic environment, shape the relationship between civilians and the violent event.

German prisoners and British soldiers, some of them wounded, help one another. Such proximity in a context of ‘hate culture’ 79 testifies to the horror of the fighting that had just taken place. The viewers’ anxiety arises even from the difference between the picturesque or the serenity of the initial scenes, and the extreme tension of the battle, from which men come back stunned and numb. 81 The Battle of the Somme does not describe ‘the glory of war . . but war as grim, murderous reality and hideous ruin’, wrote the Daily Telegraph; it provides ‘a visualisation of the hell that is war’, said the Daily Mirror.

The grim photos in the Illustrated London News ended after 1915; yet just a few months later, the film The Battle of the Somme, and then the Canadian exhibitions, received much press coverage and presented the war in all its brutality without any restrictions from the authorities. The presence or absence of sensational photographs in a magazine thus depended on the magazine’s illustrations policy, not on the censor. These decisions can be chiefly explained by a concern for decency within the press.

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