Sandans: The allegations of “The Strenger” about “Nabalm Girl”

Park City, Utah – On Saturday night at Park City witnessed the first world presentation of the “Stringer”, which calls for questioning one of the most famous photos that were ever taken. Directed by Pao Nagwin, the documentary claims that the image taken on June 8, 1972, for a 9 -year -old naked girl named Van Thi Kim Fook, a flight from Nabalm on the village of Tring Pong in southern Vietnam, was not taken by Nick Uti, photographer of Associated Press. Which is attributed to him.

Entitled “The Terror of War”, but known as “Galm Girl”, the photo won the Politzer Award and was the cornerstone of his career until he retired from the Associated Press in 2017. The accident occurred in TRảng Bàng.

Instead, “The Stringer” claims that the image was already taken by Nguyen Thanh Nghe, a NBC newspapers on the day when his photos appeared in AP’s possession as an independent line, also known as Stringer.

The origin of the claim comes from Karl Robinson, AP photo editor in Saigon on that day. In the film, Robinson claims that Horst Fe, the head of the photos in Cigon, ordered him to “make it Nick Turk” and Roberson is incorrectly, which will become within a few hours of the well -known image around the world.

The film team set out in a two -year achievement on its own, which eventually prompted them to Nagwin, Nagha, who says in the film that he took the picture. At a moment when he later met, the shot origins did not raise, the Vietnamese photographer said in the movie, “I worked hard for that, but this man got everything.”

On Saturday afternoon, before the screening of the film’s premiere, director Naguin and executive producer Gary Knight, a photographer photographer, an old warrior photographer appearing on the screen in the movie, sat for an interview in Park City about the documentary and his amazing claim.

“This story challenges my profession and the fact that I am in my profession,” Knight said. Thus, we owe our profession to be very diligent and to obtain this correctly. Returning from the profession we expected will be difficult. Right.

“Pao is the very prominent American American director and comes from the same society as Strenger and Nick,” Knight said. “Therefore, we were all investing greatly to ensure that we were diligent and studied and we treated everyone with respect and tried to get this correctly. So we are all stakeholders in the story.”

Before release the movie, she performed her AP Investigate the origins of the image Over the course of six months, they held an interview with seven people who were witnesses to the events on the road at TRảng Bàng on that day and in the AP office of AP where the image was developed and printed. None of these witnesses on the camera of the film were not interviewed. Without watching the movie, the AP report concludes, “In the absence of new convincing evidence, on the contrary, the AP has no reason to believe that anyone other than UT has taken the picture.”

The internal report also said that the AP “will look completely in any questions about the image, and if the credit is already true, it will take the appropriate treatment actions.”

Knight is also the co -founder and executive director of the Vii Foundation, a non -profit organization to defend the press and education. The previous Noguyen’s work includes the documentary films “The Great Night in Pop”, about the recording of the song “We The World” and “Be Water”, a picture of Bruce Lee, both of which are also shown in Sundance.

He said that the life that many refugees and migrants left when they reached a strange and foreign place, there is an expectation that they will have the same agency to tell their novels and tell their stories, but this is not the same. If NGHE has a long time, then why didn’t he say anything? “

“But can you imagine to reach a new culture, a new place, try to care for your family and go to a system that he does not understand and that he believes that he does not belong to him?” Naguin said. “Documentary films specifically bear the responsibility for trying to recognize all these distortions and the systems that existed.”

According to the AP report, on an oral date of 2005 corporate archives from AP, Robinson did not refer to identifying the image and did not give any indication of uncertainty whether UT took the image. There is also no reference to Robinson’s allegations in his own book about his time in Vietnam, although in the film he regrettles this negligence.

“This story does not depend on Karl,” Knight said. We met 55 people, 45 people on the camera, and we conducted criminal research, which was tested. So we do not rely on Karl’s story. That was just the beginning of the trip. And whether AP chooses to talk about Karl as an indignant employee or not, this does not make him a bad witness in itself. Many of the violations in the same position. So we couldn’t make a movie only dependent on the accusations of one man. This is not a press. “

“I think it is ravety that the seventh institution has provided a platform for a man who has a clear revenge that was boiling for more than 50 years,” said James Hornstein, a lawyer who represents UT (who has not yet seen the movie), referring to Robinson.

“I refused to participate in this obscene and error attack on Nick Ott, who was raised by Mr. Robinson over the past years. … I will never participate in the Gary Knight movie because I am because I am I know it’s wrong. “

Among the most persuasive arguments in the movie is a visual schedule created using all photographic evidence and films available to put UT out of the situation when the “war terror” image was created, with NGHe in the right place.

Knight said: “I stand by research and forensic medicine.” “I think NGHe is the only person who was in the right place to take that picture.”

The AP report says he has also created a visual schedule using the available materials, but the results “provide a little evidence about the source of the image.” Also, the pictures show, “along with a strong working group of the day of the day, a scenario in which UT, which runs around the scene actively, shows a great opportunity to take the photo.”

Although anyone involved in the documentary ignores the strong truth of what is in the same image, the assertion that the origins of the image and its composition of it is a discussion that is likely to change life.

“It is very annoying to him personally and emotionally, and one can imagine,” Hornstein said of the influence on UT. “This may be the most important part of the work he did in his life in terms of praise that this image brought. In order to be accused of lying about it, which is what this film does, it is destructive.”

For Nguyen, the film is back to tell a story recently so far no one has heard.

“For me personally, the film is about finding Stringer.” “It is an upscale, this 53 -year -old burden had his shoulders for most of his life. As you can see in the movie, the stories of many Vietnamese journalists and Vietnamese American journalists have been neglected for decades.

“Nick’s novel was firm through previous interviews, and with a little liberation.” Nagwin said: “It has been just presented as it is always mentioned.” Thus it comes to focusing on this other part of the story that was in the shadow for a long time. “