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This image is designed to evoke a profound sense of sorrow and empathy in its viewers. Accompanying the image is a news article in which the Syrian and Russian governments deny targeting civilians, a claim that stands in contrast to the visual evidence before us. More than just documentation, the image serves as a silent testimony to the suffering of those caught in the crossfire. It forces the viewer to confront the vulnerability of children in conflict zones. The presence of babies, barely old enough to comprehend their surroundings, amplifies the emotional weight and raises unsettling questions: What became of them after this moment? Did they find safety, or were they victims of the relentless violence? These unanswered questions linger, compelling the audience to reflect not only on the immediate tragedy but also on the broader implications of war.

BBC News. 2017. “War Crimes Were Committed in Aleppo - UN,” March 1, 2017, sec. Middle East. https://www.bbc.com/news/world-middle-east-39126653.

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The written context of the article conveys a sense of optimism, beginning with the statement: “Syrians poured onto the streets of Damascus to celebrate the toppling of former president Bashar al-Assad, who fled to Russia Sunday after a swift rebel advance, ending more than five decades of crushing dynastic rule” (CNN, 2024). The image itself shows men dressed in militia-style clothing brandishing weapons, and with the image alone, could make the viewer feel uneasy. The photograph’s low-angle perspective further amplifies the subjects’ perceived dominance, potentially influencing the viewer’s interpretation of power dynamics.

Due to the skin color of those in the image and it being posted on a US-based news site, taken out of context may even cause feelings of aggression to rise in those who believe in white supremacy. Those feelings would conflict with the actual images and messages of feelings of freedom for the people impacted by the conflicts in Syria. This tension between visual perception and narrative framing point out the importance of contextual understanding in media consumption which many people in the US lack.

Lilieholm, Lucas, Eyad Kourdi, Raja Razek, Edward Szekeres, Simone McCarthy, Catherine Nicholls, Sophie Tanno, Maureen Chowdhury, and Aditi Sangal. 2024. “December 8, 2024: Syria Civil War News.” CNN. December 8, 2024. https://www.cnn.com/world/live-news/syria-civil-war-12-08-2024.

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This image portrays Syrian opposition fighters standing on drawings of Syrian President Bashar al-Assad and his father Hafez. Those outside of the conflict may not fully understand this message or even recognize the drawings, but to those fighting and living in the conflict zone it is a message of defiance.

This image powerfully conveys the symbolic rejection of authoritarian rule in Syria. By physically standing on drawings of figures who represent decades of dynastic governance, the opposition fighters are enacting a visual metaphor of defiance and resistance. The act is both performative and political, signaling a break from the past and a demand for change. It underscores the deeply personal and ideological nature of the Syrian conflict, where political struggles became an aspect of daily life for those living there. In today’s digital world, images like this one circulate rapidly and widely, shaping public perception and discourse in real time. This can be both powerful and problematic. On one hand, images like these give a voice to those in conflict zones and on the other hand they can also serve to anger those in government power being portrayed in a negative light and lead to retaliation or stricter rule.

Nashed, Mat. 2024. “Why Is the Opposition Capture of Hama in Syria so Important?” Al Jazeera. December 6, 2024. https://www.aljazeera.com/news/2024/12/6/why-is-the-oppositon-capture-of-hama-in-syria-so-important.

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This image is the cover for a news article about the conflict happening in Syria, it shows several young girls navigating rubble in the town of Kobane. Anytime children are photographed in war many feelings can be evoked from the viewer all at once. Sadness that someone so innocent is going through such struggles, anger at those inflicting the trauma, and hopefully a need to take action to prevent such tragic events from ever happening again. Emotional images can mobilize public opinion and foster empathy, while also serving as subtle yet potent forms of argumentation. Ultimately, the image of young girls in Kobane causes the viewer to reflect on the emotional toll of war and quietly asserting the need for accountability and compassion.

Chulov, Martin, Ghaith Abdul-Ahad, Emma Graham-Harrison, Ian Black, Patrick Kingsley, Simon Jeffery, Chris Fenn, Finbarr Sheehy, and Paul Torpey. 2016. “Syria’s Civil War: Five Years of Guardian Reporting.” The Guardian, March 14, 2016, sec. World news. https://www.theguardian.com/world/2016/mar/14/syria-civil-war-five-years-guardian-reporting.

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