On the Other Side. Volume 3: Power

Jurij Hadalin in the article on the photoreportages of various commemorations or marking of historically significant events, draws our attention to the fact that historiography rarely uses photography as an original source for interpreting the past, but more often only as a supplement to the knowledge it gains from other sources. Ilija Tomanić Trivunža and Igor Vobič also write about this in the article on the work of the photojournalist – in the process of creating a photoreportage, the photographer is often only one (often the last) in a series of people who influence its final form. This is also underlined by the article of Jan Babnik on photoreportages of miners – he warns about the astonishing insistence of the equlizing visual iconography of images of work and the worker – the miner. Miklavž Komelj’s article is a good reminder that photography is also a weapon in a conflict as the clash of ideas is at the same time a clash of images and symbols – and the article illuminates both partisan and Home Guard photography through the prism of propaganda. What is often more important is what the photoreportage does not focus on – what the cameras either avoid, or what has been photographed but has not found its place in the media. We learn more about this in the article by Jani Pirnat and Ilija Tomanić Trivundža on the topic of censorship. Tanja Petrović writes about the Non-Aligned Movement, which provided the framework for photojournalism during the socialist era to make visual narratives both of the distant, unknown countries and their people as well as international solidarity and political alternatives.