Sturken claims that “camera images ... are central to the interpretation of the past ... [and] are often perceived to embody memory” (11). Photographs are commonly thought of as confirmation that real people and objects existed, and that real events took place. However, photographs are incapable of being accurate reflections of the “real” world and always have meaning imposed on them by their creators, whether consciously or unconsciously asserted (Sontag). In addition to the reading of the photographer, it is crucial to examine how an image is interpreted by its consumers. Photo-viewing and -sharing has reached a crescendo in the twenty-first century, with increased public accessibility to images resulting in more public dialogues about their …show more content…
Three iconic pictures, which depict a country in the wake of the traumatic event, will be analyzed, each providing a unique contribution to the popular discourse. It will be argued that the interpretation of these images carry political undertones despite being created in part by the public, and that collectively they constitute a representation of an America which, although astonished, threatened and in mourning, remains unified.

“9/11” refers to the attacks occurring on September 11, 2001, most notably on the World Trade Centre complex in New York, by plane hijackers associated with the Islamic fundamentalist group al-Qaeda. The complex was destroyed by the plane crashes and the fires that they caused, with the attacks claiming 2977 lives in total (9/11 Memorial). Jarvis describes the day as one where “the mundane ordinariness of daily existence – sleep patterns, habitual media consumption, commutes to work – [were] put “out of joint” with unpredictable suddenness” …show more content…
George W. Bush, the president of the United States at the time of the event, is seen interacting with the people mobilized to respond to the tragedy and tasked with rescuing victims and clearing away debris. Bush is pictured with policemen and firemen, who exist in the public imagination as traditional, stereotypical 'heroes'. The image is highly stylized, with the strong, male subjects assuming various poses, some with a leg propped up, others with hands folded in front of them, all with heads held high and serious expressions on their faces. Despite the damage, those who are photographed are positioned above the rubble, signifying strength and