Podcast Summary: Todo Concostrina

Episode: Acontece que no es poco | De la guerra de Crimea a la de Irak: Prohibido fotografiar muertos

Host: Nieves Concostrina (with Carla)
Date: November 7, 2024
Podcast: SER Podcast

Overview

In this episode, Nieves Concostrina explores the evolution and significance of state control over images of dead soldiers in war, focusing particularly on policies in the United States from the Crimean War through Vietnam and Iraq. She emphasizes the power of imagery in shaping public perception and the deliberate political choices made to censor, reveal, or manipulate these images. Through her signature irreverent and incisive style, Nieves examines how governments have used photography—either as a tool for propaganda or as a vehicle for public outcry—revealing the tension between information, manipulation, and the real cost of war.

Key Discussion Points & Insights

1. Historical Context: Control Over Images of War Dead

• Crimean War as the Origin (03:00 – 05:00):
  • The use of photography in war began with the Crimean War in the 1850s.
  • Early photographers James Robertson and Roger Fenton were commissioned to produce sanitized, positive images by the British government.
    • “No podías fotografiar a un tío corriendo con un fusil porque se salía por un lado.” (03:25)
  • In contrast, William Howard Russell, working for The Times, depicted the horror and devastation, even rearranging bodies to highlight the brutality.
    • “William Howard Russell trabajaba para el diario The Times y con su fotografía intentaba asumir una posición muy crítica, porque habían muerto 22 mil soldados que fueron enviados a la muerte sin recursos.” (05:04)
  • This contrast gave rise to the first public debate about broadcasting images of war dead.
    • “Las fotos de muertos de Russell conmocionaron a la opinión pública. Y ahí empezó el debate sobre si se debe o no publicar cadáveres en una guerra.” (05:51)

2. Vietnam: The Cost of Transparency (06:07 – 07:11)

• Television’s raw coverage of returning body bags profoundly impacted U.S. society and political decisions.
  • “El gobierno estadounidense pagó un precio muy alto durante la guerra de Vietnam por permitir que la televisión retransmitiera la llegada de soldados dentro de bolsas de plástico negras.” (07:07)
• This led to a strategic shift in later conflicts toward censorship.

3. Iraq & Governmental Censorship (01:01 – 08:28)

• Under Bush: Full censorship of images showing returning coffins and funerals—aimed to dissociate war from death.
  • “George Bush también le pasaron factura sus soldados muertos. Por eso pidió al jefe del Pentágono que prohibiera terminantemente la difusión de imágenes donde se vieran, regresando a Estados Unidos, los féretros de los soldados estadounidenses muertos.” (02:16)
• Aznar & Blair’s Involvement:
  • Nieves points out Spanish complicity and misinformation during the Iraq War.
    • “Aznar todavía está buscando las armas de destrucción masiva y Pedro José sigue fabricando historias que tapen sus vergüenzas.” (02:06)
• The government deliberately downplayed or hid ceremonies, manipulated press access, and made funeral coverage nearly invisible.

4. Obama’s Policy Reversal (07:11 – 08:28)

• Upon taking office, Obama authorized the public dissemination of images, ending the blackout.
  • “Obama llega y autoriza la difusión de imágenes. Inmediatamente lo autorizó el Pentágono, pero porque se lo pidió Obama.” (07:26)
• Bush’s administration refused to even provide accurate numbers, while with Obama, statistics on funeral ceremonies and images became accessible.
  • “Fue con Obama cuando se hizo público que se habían celebrado 5.000 ceremonias de recepción de restos en la base militar donde llegaban los soldados caídos.” (07:57)

5. Military Bases and the Logistics of Repatriation (08:32 – 11:12)

• Dover Air Force Base (Delaware): Main arrival point for modern U.S. war casualties.
• Hickam Air Force Base (Oahu, Hawai): Specializes in identifying remains from historic wars (WWII, Korea, Vietnam).
  • “En la base hawaiana hacen unas 100 identificaciones al año... Hay un laboratorio que ha reunido, miles y miles de muestras de ADN de familiares que esperan recuperar a sus muertos.” (11:15)
• The process is painstaking, involving DNA analysis and years-long investigations to match remains with families.

Notable Quotes & Memorable Moments

• About Censorship and Information:
  • Carla: “Lo de ocultar la muerte obviamente tiene sus ventajas, y por eso lo hacen. Ojos que no ven, corazón que no siente.” (07:11)
  • Nieves: “La información es la información. Y ahora fíjate si es importante lo que vamos a contar ahora...” (06:07)
• On State Manipulation:
  • Nieves: “Bush consideró contraproducente para su empeño bélico que los ciudadanos vieran cómo los soldados regresaban muertos.” (09:48)
• On the Persistence of Loss:
  • Nieves: “Pueden pasar años desde que Vietnam entrega restos hasta que se les asigna una identidad. Y esto no siempre ocurre.” (12:11)
• On the Historical Impact:
  • Nieves: “La de Vietnam fue determinante para la siguiente [Irak].” (01:35)

Important Timestamps

• 00:36 – 01:35 — Introduction to U.S. policy on war images; focus on Vietnam and Iraq.
• 03:00 – 05:51 — Crimea: invention of war photography and government manipulation.
• 06:07 – 07:11 — Vietnam War: the cost of transparency.
• 07:11 – 08:28 — Bush vs. Obama: the politics of visibility.
• 08:32 – 10:07 — The logistics and strategy for repatriating soldiers' remains (Dover base).
• 10:12 – 12:11 — Hawaii base: Identification of historic war remains; the scale and cost of recovery.
• Throughout — Continuous references to Spain’s involvement in Iraq and the broader implications of state control over suffering and memory.

Tone & Style

Nieves Concostrina adopts her characteristic witty, direct, and slightly ironic tone, using current political references and historical anecdotes to highlight the manipulative power of governments over public perception of war. She intersperses humor and critical commentary, turning historical fact into a pointed critique of contemporary political practice.

In essence, this episode dissects how governments, especially the U.S. and its allies, have strategically controlled war imagery—not just as a matter of discretion, but as a powerful political tool—with the ultimate consequence of shaping, suppressing, or galvanizing public consciousness and historical memory.