2026-04-17T14:07:54Zhttps://recercat.cat/oai/requestoai:recercat.cat:10230/691542025-12-24T08:45:24Zcom_2072_6col_2072_452952
RECERCAT
author
Monegal Brancós, Antonio
2025-01-16T12:19:50Z2025-01-16T12:19:50Z2020
The article examines the use of documentary film as a tool of political intervention that enlists the resources of broadcast journalism and literature in the representation of war. Access to images is a determining factor in the shaping of public opinion and affects citizens’ political views about the waging of war. The private files of four freelance cameramen who provide footage for news agencies and television networks and covered the wars in Chechnya are the main sources for Yuri Khashchavatski’s documentary Prisoners of the Caucasus (2002). The film traces a connection between this contemporary representation of the war in the Caucasus and Tolstoy’s nineteenth-century narratives and denounces both how the war was conducted and the invisibility in the media of the suffering of civilian victims and regular soldiers. Connecting the stringers’ files to an earlier literary tradition is a way of claiming the political dimension of memory, a political exercise at the crossroads between the media and the arts.
© This is an Accepted Manuscript of an article published by Taylor & Francis in Journal of war & culture studies on 21 Oct 2020, available online: http://www.tandfonline.com/10.1080/17526272.2020.1830582 info:eu-repo/semantics/openAccess
Chechen wars
Documentary film
Information war
Stringers
Broadcast news
Captive Images: The Wars in Chechnya from Tolstoy to Khashchavatski’s Prisoners of the Caucasus
info:eu-repo/semantics/article info:eu-repo/semantics/acceptedVersion