Abstract
The maritime border separating Europe from Africa has become the backdrop for a photojournalism that bears witness to the suffering and death of thousands of migrants since the early 1980s. The beach, the sea, and the fence are the specific sites where such a humanitarian crisis has been photographed. Taking the work of some of those committed photographers as its object of study and drawing mainly from the writings of Susan Sontag, Ariella Azoulay, and Emmanuel Levinas, this essay evaluates the possibility of studying photographic images of the humanitarian crisis at the so-called gates of Europe to reframe established theories of the relation between spectatorship, ethics, and otherness.
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