Fixe shots of coffins in numbers. Chilling. Certainly. The the circumstances of a region overwhelme by the influx of sick people cause this. The and therefore these sequences. But the mass death was filme. The shown. Likewise in New York. The also overwhelme by the pandemic. There. The it was refrigerate trucks and mass graves that left their mark. In particular. The the images taken by photographer George Steinmetz and his drone last April.
The fact that he was able to report
on the burial by prisoners of dozens of bodies unclaime by families on Hart deepcoin database Island earne him the seizure of his equipment by the authorities. The representation of death has become a political issue. The also variable according to the cultural traditions of the countries concerne. The same was already true for terrorism. Between the Spain of Atocha in 2004 and its bloodie wandering victims. The to the almost invisible deaths of the World Trade in 2001.
At the time
The on this point. The a controversy calle into question the meia. Once again. The under the pen of a historian. The the New York Times aske. “ Where are the photos of the Covid dead?” Sarah Elizabeth Lewis says the tragic misinformation exposes limits reality of hospitals has been largely overlooke. While reporters have done a great job. The she says. The the president. The health care workers. The and illustrations of economic distress have largely taken up the screens.
The image was indee the subject of a power struggle Fear was his issue. Not phone number thailand surprising in the country of a Donald Trump who denies. The fluctuates about the importance George Steinmetz and his droneof the pandemic. Power is obviously inseparable from information. After all. The the establishment of the state of health emergency is due to him – when he decides. Here again. The fear was at work. Reassuring. The exposing “the bad news or the good news”. The threatening. The making people responsible… acting on anxiety. The dosing it.