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Sometimes journalism itself falls into line with the general depreciation. The loop effects are visible on the screens: this patient who is turned over for the umpteenth time, this swab always plunged into the same nostril… At the same time, the photo has invited itself into the news sessions. As if the stop, the fixity, allowed one to find one's senses in the video flow, uninterrupted worldwide.


And here is the scarcity caused by the ban, the gambling data america censorship that we thought was forever reserved for the aisles of an archaic museum, resurfacing. As every time in the history of this power struggle, the maneuver is brought to light, debated, and pushes for a counter-offensive. It cannot stop there. The image is no longer this force of instantaneous truth. It questions itself, examines itself, cross-checks itself. We know it is capable of misleading a multitude. It can destroy. We also know it is indispensable, unaltered by a few random protective measures.

In more than a century we have therefore educated ourselves in the image, but everything happens as if we were only at the beginning.

It is that the image has its memory. To face the questions of the day, this memory is an imperative. However, it remains largely to be written, absolutely necessary to better understand what we want to defend.

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By Barbara Chazelle, scientific collaborator at the Academy of Media and Journalism (AJM) of the University of Neuchâtel. Post originally published on the EJO platform and presented as part of a partnership with Méta-Media.