Over 100,000 Instagram users and some of the world’s best known media organizations were fooled for over two years by someone pretending to be a front-line war photographer. The entire stranger-than-fiction story was revealed recently by BBC Brazil after a lengthy investigation.
According to the BBC’s report, so-called ‘Eduardo Martins’ posed as a Brazilian UN photographer by using a collection of images stolen from other photographers’ websites and from news organizations. Stealing with care he built a body of striking work that brought him to the attention of BBC Brazil, Al Jazeera, the Wall Street Journal, Getty Images and many others, and amassed him over 120,000 followers on Instagram.
‘Eduardo’ posted tear-sheets of his work in print and recounted stories of his encounters and ‘humanity’ in the face of chaotic and violent scenes. He was able to keep the ruse going by never speaking to anyone in person, and sending only recorded or emailed messages. His photographs were placed with Getty Images and tales of his exploits made print with some of the world’s biggest newspapers.
An interviewer at the BBC became suspicious, however, and started to ask questions that revealed other Brazilian war photographers working in the same zones had no idea who Eduardo was. As the war correspondent community is tight knit and journalists in conflict zones inevitably know one another, alarm bells began to ring.
Enquiries with the UN also established that no one with that name was on its books as a photographer, and that neither were other UN photographer friends that Martins referred to—including some that Martins mourned in his posts after they were ‘killed’. Amazingly the UN even followed him on Instagram.
|Pictures from the Facebook page of photographer Ignacio Aronovich that demonstrate how → continue…
By David Zou
The 1980s is perhaps one of the most defining decades of 20th century Britain. Not only had it rejigged the country’s political and economic ideologies (for better or for worse) but culturally, it was time of great creativity and diversity as a response to this changing landscape.
British cinema was especially changing, from a decline in the 1970s after American studios slowly stopped backing U.K productions and with less funding from the newly formed 1979 conservative government. A lot of filmmakers turned to television to be cinema’s saving grace.
From the launch of Channel 4 in 1982, independent productions as well as much larger ones began to receive funding which, in turn, allowed new and interesting films to be made, providing a distinct critique of the era. The Films on Four scheme helped fund figures who became defining (or in some cases, already defined) figures in the industry such as Peter Greenaway, Ken Loach, Sally Potter, Derek Jarman, Stephen Frears and Mike Leigh, to name but a few.
Of course these films were still available to watch on the silver screen, but the 1980s begged the question of what exactly was the true cinematic aesthetic in the face of more quality television being produced?One film that falls slap bang in the middle of this debate is the 1984 film Threads.
Threads is a made for TV film which was broadcast on the 24th of September by the BBC and was directed by Mick Jackson who would go onto to make the sublime television series A Very British Coup (1988) as well as the 1992 film The Bodyguard.
Set in, then, present day Sheffield the film depicts a nuclear bomb hitting the city after an outbreak of a major conflict due to Soviet and U.S aggressions in the middle-east. The film follows the → continue…
From:: Taste Of Cinema