World Press Photo made a significant announcement on Friday, stating it will suspend the authorship attribution of the iconic photograph known as The Terror of War, more popularly referred to as "Napalm Girl." This haunting image, captured during the Vietnam War in 1972, has long been associated with the photographer Huỳnh Công (Nick) Út, who was an Associated Press staff photographer at the time.
The Backstory of Napalm Girl
The photograph depicts a group of children fleeing an aerial napalm attack, with the terrified young girl in the center—nine-year-old Kim Phuc—ripping off her burning clothes as she ran. It was taken on June 8, 1972, after a South Vietnamese aircraft mistakenly dropped napalm on its own troops and nearby civilians, creating a moment that embodied the horrors of war. This photograph earned the Pulitzer Prize in 1973 and was awarded World Press Photo of the Year the same year, solidifying its place in historical and journalistic lore.
Investigative Developments
In January, an independent investigation was initiated by World Press Photo following the release of The Stringer, a documentary by The VII Foundation. This film raised questions about whether Út was indeed the photographer of this iconic moment. According to World Press Photo, investigative analysis pointed out that based on factors such as location, distance, and the camera used, the credit for the photo might more accurately belong to either Nguyễn Thành Nghệ or Huỳnh Công Phúc, both of whom were also on the scene that day.
The organization made it clear through a news release that "due to this current doubt," they have decided to suspend attribution to Nick Út until further evidence could confirm authorship.
The Response from Associated Press
In response to these allegations, the Associated Press conducted its own comprehensive investigation over the course of nearly a year. Ultimately, AP concluded that there was "not the ‘definitive evidence’ required by AP’s standards to change the credit" of the photograph, which has been part of the cultural and historical narrative for over five decades.
Mixed Reactions
Bao Nguyen, director of The Stringer, expressed that World Press Photo’s decision represents a crucial turning point in how narratives are constructed in history. He stated, "This film is also about power—who gets to be seen, who is believed, and who gets to write history." Nguyen emphasized the necessity to reconsider the stories we think we know, highlighting the ongoing complexities associated with historic photographs.
On the other hand, Nick Út’s lawyer, James Hornstein, has pushed back against the claims made in The Stringer. He suggested that World Press Photo had preemptively made a decision to penalize Út without adequate consideration after initial contact regarding the investigation. Hornstein’s statements reveal a tension between historical recognition and the realities of attribution in photojournalism.
The Remaining Legacy of the Photograph
Despite the controversy surrounding its authorship, World Press Photo maintains that the photograph itself remains undisputed. They affirmed that Út’s work in capturing this historic moment still stands as a fact, underscoring the artistic and cultural significance of the image. The organization acknowledged the complexities of the situation, noting that "this remains contested history" and that it is possible the true author may never be definitively identified. The suspension of authorship attribution will remain in effect unless compelling evidence surfaces to alter the current understanding.
As the discussions surrounding The Terror of War continue, they reflect broader questions about history, memory, and the narratives that shape our understanding of conflict. The enduring power of the photograph, with its emotional impact and historical relevance, underscores the importance of discourse surrounding authorship and representation in the realm of photojournalism.
