A photograph so seared into the collective psyche that it's hard to imagine a different image, let alone its actual creator. Napalm Girl, captured in 1972 during the Vietnam War, is often credited to Huynh Cong "Nick" Út, a South Vietnamese photojournalist working for the Associated Press in Saigon. However, a new documentary on Netflix challenges this narrative, suggesting that the iconic photograph was taken by a different man, Nguyễn Thành Nghệ, a freelancer who sold his photos to the AP.
The investigation behind The Stringer, directed by Bao Nguyen and narrated by Gary Knight, follows a trail of clues, from eyewitness accounts to archival research. Their findings eventually lead them to Nghệ, a 79-year-old driver for NBC that day who occasionally sold photographs to international news outlets as a freelancer. In the film, an emotional Nghệ recounts selling the photograph to the AP for $20 and a print, only to be haunted by the lack of credit for decades.
However, not everyone is convinced. The Associated Press (AP) has disputed the documentary's findings, describing Robinson, the man who first came forward with information about the true photographer, as a "disgruntled" former employee. The AP has also stood by Út's credit, citing his Pulitzer Prize win and international acclaim.
World Press Photo, which awarded Napalm Girl the 1973 Photo of the Year award, released its own investigation concluding that Nghệ was better positioned to take the photo than Út. While the organization could not confirm the authorship, they acknowledged that the photograph's authenticity remains unquestioned.
The Stringer is more than just a re-examination of historical events; it's an exploration of power structures in journalism and the often-overlooked role of stringers. Knight notes that these freelancers work under difficult circumstances, without support or insurance, and are vulnerable to criticism.
Ultimately, the film posits that journalists should not shy away from asking tough questions, even when they challenge established narratives. As Nguyen says, "If journalists are going to hold everybody else in the world to account, we have to be able to ask difficult questions of ourselves." The Stringer may not provide definitive proof of Nghệ's authorship, but it does offer a crucial reappraisal of history and a reminder that truth is often complex and multifaceted.
The investigation behind The Stringer, directed by Bao Nguyen and narrated by Gary Knight, follows a trail of clues, from eyewitness accounts to archival research. Their findings eventually lead them to Nghệ, a 79-year-old driver for NBC that day who occasionally sold photographs to international news outlets as a freelancer. In the film, an emotional Nghệ recounts selling the photograph to the AP for $20 and a print, only to be haunted by the lack of credit for decades.
However, not everyone is convinced. The Associated Press (AP) has disputed the documentary's findings, describing Robinson, the man who first came forward with information about the true photographer, as a "disgruntled" former employee. The AP has also stood by Út's credit, citing his Pulitzer Prize win and international acclaim.
World Press Photo, which awarded Napalm Girl the 1973 Photo of the Year award, released its own investigation concluding that Nghệ was better positioned to take the photo than Út. While the organization could not confirm the authorship, they acknowledged that the photograph's authenticity remains unquestioned.
The Stringer is more than just a re-examination of historical events; it's an exploration of power structures in journalism and the often-overlooked role of stringers. Knight notes that these freelancers work under difficult circumstances, without support or insurance, and are vulnerable to criticism.
Ultimately, the film posits that journalists should not shy away from asking tough questions, even when they challenge established narratives. As Nguyen says, "If journalists are going to hold everybody else in the world to account, we have to be able to ask difficult questions of ourselves." The Stringer may not provide definitive proof of Nghệ's authorship, but it does offer a crucial reappraisal of history and a reminder that truth is often complex and multifaceted.
this Napalm Girl pic has been out for ages but ppl stil dont no who took it lol! so theres this docu on Netflix thats tryna figure out if its really by Nguyễn Thành Nghệ or Huynh Cong "Nick" Út. i think its kinda cool that theyre re-examining the past & all 
like, its not just about who took the pic but also how it was handled afterwards. its wild 2 think about how much $$ Út got for that one photo lol $20 & a print? thats crazy!!! 
and can u believe the AP is still defendin Út's cred? like come on guys 
anyway, i'm all 4 this docu cuz it makes me think about power structures in journalism & how important it is 4 us 2 ask tough questions. 
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. It's like, what even happened? Did someone sell a photo for $20 and get ghosted by everyone? 
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. The Stringer film is more than just about uncovering the truth; it's about exposing the power structures in journalism that can lead to inaccuracies and biases.
. Maybe this whole Napalm Girl controversy will lead to a more nuanced understanding of how photos get published and who gets credited for them 
.
It's not about who took the picture first, it's about giving props to the person who actually did. I'm all for journalistic integrity and asking tough questions... but can we at least get some answers here? 
. Its like, we gotta keep questioning the narratives and hold each other accountable 
. But at the same time, I feel bad for Nguyễn Thành Nghệ, who was just trying to make a living and sell his photos 
. 20 bucks is nothing, but its about the principle of being credited for your work 
. What do you guys think?
and see what all the fuss is about. maybe it'll give us some closure on who actually took that famous pic, but tbh, i think we should be more concerned with who's getting paid for their work 
? i'm all about shedding light on the untold stories, especially when it comes to journalism. this docu is giving me LIFE and making me think so hard about power structures and accountability 
. let's keep pushing for truth and transparency in our media! 
It's a bit frustrating that the AP isn't taking this investigation more seriously...