1. War Photographer Carol Ann duffy
This Powerpoint is intended as an accompaniment to the ‘War Photographer’ N5 Study Pack.
Also of use would be the excellent McCullin DVD (rated 15) and the collection of his work (entitled ‘Don McCullin’ and available as a hardback book).
“Photography is the truth, if it’s being handled by a truthful person.”
-Don McCullin

2. In his darkroom he is finally alone with spools of suffering set out in ordered rows. The only light is red and softly glows, as though this were a church and he a priest preparing to intone a Mass. Belfast. Beirut. Phnom Penh. All flesh is grass.

3. He has a job to do. Solutions slop in trays beneath his hands which did not tremble then though seem to now. Rural England. Home again to ordinary pain which simple weather can dispel, to fields which don't explode beneath the feet of running children in a nightmare heat.

4. Something is happening
Something is happening. A stranger's features faintly start to twist before his eyes, a half-formed ghost. He remembers the cries of this man's wife, how he sought approval without words to do what someone must and how the blood stained into foreign dust.

5. A hundred agonies in black-and-white from which his editor will pick out five or six for Sunday's supplement. The reader's eyeballs prick with tears between bath and pre-lunch beers. From aeroplane he stares impassively at where he earns a living and they do not care.

6. Theme The text explores…
…the experiences of a photographer as he develops his photographs from a warzone.
…the psychological damage done by a photographer’s experiences in war.
…the isolation and alienation felt by a war photographer.
It is crucial that pupils understand that the text is not about a photographer actually in a warzone – the central concerns of the text relate to his emotions, reactions and reflections once he has returned (and then as he leaves again). Pupils should be encouraged to think about this themselves before being shown a number of possible thematic concerns of the text (Task 1 in the unit).

7. Key Techniques The poet makes use of… …word choice …imagery
…alliteration
…structure
Pupils should be encouraged at this stage to annotate their own (A3) copy the poem (either alone, in pairs or in small groups) – students should focus simply on recognising the techniques in the first instance before offering some analysis and attempting to relate their findings to an overall theme. This is covered in Task 2 of the unit.

8. Gallery
The following slides include examples of Don McCullin’s work; many are graphic and shocking, and all have been taken in places either mentioned or alluded to in the poem.
Pupils should be warned clearly about the content of some of the following photographs, and some students may be upset by the content (especially if they understand the context, which they should be helped to do). Whilst the poem is primarily concerned with the photographer and his reactions to his experiences it is still important that pupils understand exactly what those experiences were – if you an unable to show the McCullin DVD due to age restrictions then allowing them to access the photographs is crucial.

9. Cyprus
He remembers the cries of this man's wife, how he sought approval without words to do what someone must and how the blood stained into foreign dust.
“He remembers the cries of this man's wife, how he sought approval without words to do what someone must and how the blood stained into foreign dust.”
This photographer is a perfect reflection of these lines – in it, a Turkish Cypriot woman returns to her home to find her husband and his father have been murdered. McCullin was already in the house when the family returned and, though he expected them to be angry with him for taking photographs, they allowed him to continue while the woman cried.

10. Northern Ireland

11. Northern Ireland

12. Beirut, Lebanon

13. Having taken this photograph – of a group of young Christians celebrating by the body of a teenage Palestinian girl – McCullin was himself threatened and forced to leave the area.
Beirut, Lebanon

14. Beirut, Lebanon
This photograph shows patients in a mental hospital in Beirut being moved after Israeli shells hit the building. It was in this building that McCullin reached one of his lowest points – he was shown a room where blind and insane children had been locked and, when the door was opened, was utterly overwhelmed as they came flooding out “in their own filth and mess”. McCullin later said that of this experience: “I don't think I was ever more ashamed of humanity.”

15. Beirut, Lebanon

16. Cambodia

17. Phnom Penh, Cambodia

18. In their own words
“Those photographs are in the background but I'm more interested in the photographer... in the dilemma of someone who has that as a job... to go to these places and come back with the images.” -Carol Ann Duffy

19. In their own words
“I don't think I could have touched on more tragedy under one roof than I saw in that hospital that day...I've never forgotten it.” “I don't think I was ever more ashamed of humanity” “[The past returns] on a regular basis, as fresh as if it was happening today, to haunt me". -Don McCullin

20. Critical Essays
‘War Photographer’ is an excellent option for critical essays as it allows you to deal with questions which focus on a wide range of topics such as: An important theme or message; an interesting character; a particular experience; a specific atmosphere; a lasting emotional response from the reader
The unit includes a range of potential essay questions, all of which could be attempted with ‘War Photographer’.

21. Critical Essays
In pairs select at least 2 of the critical essay questions provided in your study pack. Prepare a mind-map essay plan for each of your chosen questions using your desks and the dry-wipe markers. Your plans must include evidence, full explanations and detailed comments.
The unit includes a range of potential essay questions, all of which could be attempted with ‘War Photographer’.

22. Prelim Revision
Revision Plan: Central Concerns Atmosphere Personal response Key features

23. Prelim Revision Central Concerns
Make a list of anything that you would consider to be a central concern of ‘War Photographer’
Be able to explain why you think this by referring to specific aspects of the text
The most ‘all encompassing’ of these would be ‘the emotional and psychological damage caused by the experiences of a war photographer’.

24. Prelim Revision Atmosphere
What sort of mood/atmosphere is developed throughout the poem?
How does the poet initially create, and then further develop, this mood/atmosphere?
Dark, sinister, emotional

25. Prelim Revision Personal Response
What sort of personal response is provoked by the poem?
Is your response emotional, intellectual or both?
How does the poet provoke and develop this response?
Generally this will focus on the plight of the photographer, but pupils may also channel their personal response through the general ideas of conflict and suffering.

26. Prelim Revision
Critical Features
What are the key critical features of the poem?
How – and why – does Duffy makes use of a range of different techniques?
Which ones are likely to be relevant to most essay questions?