Word: victimization
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Dates: during 1960-1969
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...this exhibition reveal much more than an aspect of one person. For that reason, the subject's name often is not used as the title of the picture. The viewer must put emotion into Marian Palfri's flashbulb picture of the sphinx-faced Negro woman, "Wife of a Victim of a Mob Lynching." A photograph by Dorothea Lange changes from a picture of a smiling grandmother to a beaming representation of boundless green nostalgia: "God Bless Nora Kennally, Country Clare, Ireland...
Four other portraits offer a comment on justice. A sheriff, a destitute migrant mother, and the wife of a lynching victim surround a rich woman who, wrapped in furs and chins, sits inside her elegant charriage. Of the four pictures, only this one has a name-title. On another wall, portraits of three anguished women precede a fourth who is perfectly sharp down to the hair on her chin. She is dead, however...
...Final Victim. Corazon said that the killer later asked Patricia Matusek, 21, who was wearing a yellow nightgown: "Are you the girl with the yellow dress?" It was a possible confirmation that he had watched the girls enter and leave the apartment from a park near by. Apparently none of the victims put up a violent struggle, according to the survivor, though three of the girls had cried "ah!" in muffled voices. One of the Philippine nurses cried "masakit!"Tagalog for "it hurts...
When the killer came to his eighth and final victim, pretty, blonde Gloria Davy, 22, he flattened her on the bed across from the one under which Miss Amurao was hiding. In agonizing detail, the witness described a rape that lasted 20 or 25 minutes. None of the other girls had apparently been sexually assaulted and, curiously enough, even the coroner's inquest on Gloria Davy had not revealed any clinical evidence of rape. That one fact seemed to indicate the motive and the madness of the killer, a man who may have been impotent, yet so desperate...
Critic Goldberg may have a point. Africa Addio is a lengthy rape scene in which the predators are the continent's white and black citizens and the victim is Africa itself. Film Makers Gualtiero Jacopetti and Franco Prosperi (Mondo Cane) have assembled a grand guignol of atrocity scenes, strung together with a booming narration and a melodramatic score. Among them: the wanton slaughter of herds of hippopotamuses, zebras, elephants and other wildlife; the execution by a black and white firing squad of black Congolese rebels; mound of 54 amputated hands, the ghastly souvenir of Bahutu reprisals against their Watutsi...