The Controversy Surrounding the "Napalm Girl" Photograph: A Deep Dive into *The Stringer*

The documentary *The Stringer*, released on Netflix, raises significant questions about the authorship of the iconic 1972 photograph known as "Napalm Girl," which depicts a naked girl fleeing a napalm attack during the Vietnam War. Traditionally credited to South Vietnamese photographer Huynh Cong "Nick" Út, the film argues that the photograph was actually taken by Nguyen Thành Nghe, a freelance photographer present at the scene.

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The photograph, officially titled *The Terror of War*, captured the harrowing moment of nine-year-old Phan Thi Kim Phúc fleeing a napalm strike in Trang Bàng, Vietnam. It is credited with galvanizing public opposition to the Vietnam War and won Út a Pulitzer Prize. The image quickly became emblematic of the war's brutality, with critics like Susan Sontag asserting its profound impact on public sentiment.

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• Huynh Cong "Nick" Út: The AP photographer traditionally credited with taking the photo.

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• Nguyen Thành Nghe: The freelance photographer who claims to have taken the photograph.

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• Carl Robinson: A former AP photo editor who initiated the investigation into the photograph's authorship.

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• Gary Knight: A photojournalist and executive director of the VII Foundation, who plays a central role in the documentary.

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Following the documentary's claims, the Associated Press (AP) conducted its own investigation, asserting that there was no definitive evidence to change the credit from Út to Nghe. The AP described Robinson as a "disgruntled" former employee and maintained that Út's authorship remains intact. In contrast, World Press Photo, which awarded the photograph its 1973 Photo of the Year, acknowledged the possibility that both Nghe and another photographer, Huynh Công Phúc, were better positioned to take the photo, leading to the rescinding of Út's credit.

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The claims made in *The Stringer* have faced significant criticism. Prominent photojournalists have dismissed Nghe's assertion and expressed concern over the potential implications for journalistic credibility. Út's lawyer, James Hornstein, labeled the film "defamatory," arguing that no new evidence has emerged to support the claims against Út. The AP's investigations concluded that while it was "possible" Út took the photo, they found no conclusive evidence to support an alternative authorship.

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The investigations into the photograph's authorship have produced conflicting reports. While the AP's initial analysis stood by Út, a subsequent report acknowledged significant questions about the circumstances surrounding the photograph. The World Press Photo's findings further complicated the narrative by suggesting that the authorship remains contested and may never be definitively resolved.

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• “I took the photo.” — Nguyen Thành Nghe

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• “If we’re going to hold everyone else in society to account, we have to do so ourselves.” — Gary Knight

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• “No new documentary evidence has surfaced to support an alternative authorship.” — James Hornstein, lawyer for Nick Út

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The release of *The Stringer* has sparked renewed discussions about authorship and credibility in photojournalism. As the debate continues, both the film's creators and critics emphasize the importance of self-examination within the profession. The quest for clarity regarding the photograph's authorship may lead to further investigations and discussions about the representation of Vietnamese journalists in the historical narrative of the Vietnam War.

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