The Non-professional Photographs of the Iran-Iraq War as Text; Case Study: Photographs of “Valfajr Moghadamati”, Komeil Channel

Document Type : Research Article


1 Ph.D Candidate in NAZAR Research Center, Tehran, Iran.

2 Department of Urban Planning, Faculty of Architecture & Urbanism, Imam Khomeini International University, Qazvin, Iran.

3 Assistant Professor, Department of Advanced Studies of Art, University of Tehran, Iran.


Problem Statement: There are unknown capacities in a photograph that is far closer to what happened in reality than to literary and historical narratives. If the spatial knowledge of photography and their interpretation enhanced civilization, hidden facts behind the photograph could partially attain. The Iran-Iraq War is one of the critical events in Iranian society, with the numerous non-professional pictures that can help read the events and occurrences of the war.
Research Objective: The Iran-Iraq War is one of the critical events in Iranian society numerous non-professional photographs of which can help to give an objective reading of what has happened because primarily the field of science and in this research, the science of history deals with actual matters. Overall, this research intended to assess the narration and reliability of remnant photographs of these events in the compilation of history by examining the role and position of non-professional photography in the Iran-Iraq war. A turn of events made the site of “Valfajr Moghadamati” operation a holy place; a holiness in the formation and proof of the truth of which, non-professional photographs played a significant role more than any other technology.
Research method: This research is based on a critical discourse analysis method with a Fairclough‏ approach (in particular) which limits the term discourse to sign systems such as text and image, and by taking photographs as text, presents a specific and unique narrative of “Valfajr Moghadamati”.
Conclusion: In the collection of studied photographs, the “other” or the Ba’ath enemy did not have a significant presence. In these photographs, there was a view of friendship and social relations that was fundamentally different from the anti-enemy discourse as the prevailing discourse in in-war societies. There is no need for an anti-enemy dialogue. The Ashura behaviors have made this ritual event into an event that has produced a different narrative than the government’s story.


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