“In the Shadow of False Light”

Hannah Reyes Morales on Disinformation

Disinformation in the Philippines takes center stage in this photo review, showcasing the work of Hannah Reyes Morales. Morales is a documentary photojournalist who the Nobel Peace Center invited to document the efforts of Maria Ressa, a laureate of the Nobel Peace Prize, in the face of media suppression and the struggle for freedom of expression. Based in the Philippines, Morales has also documented the war on drugs instigated by former president Rodrigo Duterte. Duterte was openly critical of the mainstream media and journalists, accusing them of disseminating “fake news” and subjecting them to intimidation. Furthermore, the dangerous affinity between social media and disinformation continues to strengthen as distrust among ordinary citizens continues to rise. Although the exhibition is centered around Maria Ressa, Morales expands and delves into the complex nature of the crisis. In her photo commission, Morales captures the diverse people on the other side of the screen at the juncture of disinformation.

The photo exhibition took place in late 2021, just before the election in May 2022. Disinformation had already taken root in the public sphere, particularly regarding the political candidates vying for the upcoming administration. A government under Rodrigo Duterte couldn’t care less about lies unless they were directed toward him or his allies. There are no concrete regulations to address falsehoods and many leeways for those who propagate them, especially in a country with a corrupt justice system. Amidst the crisis in the poverty-stricken archipelago, where darkness looms, there are those who ignite radiant hope and courage. Leading the charge in the fight against attacks on journalism and the search for the truth is Maria Ressa, the founder and CEO of the online news outlet, Rappler. As one of the few independent media outlets in the Philippines and an outspoken critic of corruption and disinformation, Rappler serves as a beacon of hope in the midst of the storm, resonating deeply with Maria Ressa in the photo.

As Maria opened her laptop and started working, the glow of the screen illuminated the upper front part of her body. Her silhouette became more defined against the dark surroundings, highlighting her face and hands. Ressa wields herself and her device as a weapon in combating digital disinformation. A voice that influences people through online reporting and a source that illuminates from others’ devices. As a network of falsehood takes hold in both offline and online spheres, there is also truth that strives to disintegrate it. Hannah Reyes Morales photographs Maria Ressa at work giving Filipinos access to facts and independent journalism. Ressa’s unwavering hope for a better tomorrow persists despite the precarity of the political scene, death threats, and unjust legal charges. The light seeping into the room aptly embodies Ressa’s optimism. On the other hand, the light illuminating behind her can convey different meanings. Still, blue light is notably associated with the screens of electronic devices such as televisions, phones, or laptops, which serve as a source of information. It is the light where facts and lies converge and is consumed by many. Morales’ photo commission features a consistent theme of light and shadows in the interior of her photographs.

Students do their school work at home, as Duterte makes a speech on television.

Rodrigo Durterte’s use of anti-media rhetoric has resulted in the erosion of trust in critical media outlets, causing thousands of supporters to believe and doubt them. Consequently, many individuals have become selective in the media channels they rely on and have turned to social media for information. The photo above portrays the government-owned People’s Network Channel broadcasting a speech by Duterte while students work on school assignments with their faces illuminated by electronic devices. The image raises the question of who initiated the television broadcast. Was it the students or another unseen individual? The cramped room, where there are multiple plugged power extensions together; where it’s used for both studying and leisure activities; where toiletries, pictures, and medals coexist; is a space utilized by multiple family members at the same time. The students are situated in the corner of the room, where watching television proves to be a challenge as they are also occupied with their schoolwork. It appears that someone else in the household, apart from the students, may have turned on the television. While it is unwise to make assumptions regarding who it may be, the photo is notable for highlighting the potential impact that household dynamics can have on younger generations.

The image reveals much about the family’s situation, indicative of a broader issue prevalent in the Filipino population. Duterte, who symbolizes disinformation, believes that a strong leader and disciplined populace are crucial to the nation’s advancement and eradication of poverty and criminality. Such a nationalist-populist approach has garnered significant support from low-income Filipinos and those whose habitus aligns with the ideology. These are characterized by disinformation and have emerged as significant obstacles in the battle against disinformation. The light emanating from the television showcasing Duterte is aptly captured by the accompanying text in the exhibit from Nicola Sebastian, which states that “light can obscure as much as it illuminates.” This same statement also applies to electronic devices that provide internet access, where the abundance of content available makes it challenging to verify the information.

Fact checkers from the Vera Files team, a Facebook fact-checking partner, in their office in Manila. “Lies travel faster than the truth,” says Chin Samson (left). The team see themselves as part of the frontline against disinformation.

Morales’ work also includes documentation of the individuals responsible for fact-checking on social media, working to counter the ongoing disinformation. Given that the timing of sunsets in the Philippines remains consistent throughout the year, the photo indicates that it was taken after 6 P.M. The fact-checkers, meanwhile, tirelessly dedicate themselves to either immediately assessing newly surfaced, dubious information or committing additional hours to research about it. Their objective is to combat disinformation that spreads more rapidly than the truth. In the photo, Chin Samson gazes out of the window, which reflects the cityscape, prompting one to wonder about the subject of her contemplation. Is she lost in thoughts regarding everyday, mundane matters, or is she reflecting on topics that are more significant? Although I cannot determine what Samson is contemplating, the striking aspect of the photo is the reflection of the cityscape visible through the window: an expansive, continuous horizon that extends beyond the confines of the office where Samson is working. The battle against disinformation persists, and though it remains unclear who will emerge victorious, it appears that disinformation continues to thrive. In Morales’ photo of the fact-checkers, one can interpret it as a depiction of the classic tale of David and Goliath, or perhaps it presents the opposite perspective. Disinformation, cast as the Goliath, is a pervasive darkness that dominates the vast horizon. In this context, the fact-checkers and journalists serve as sources of light, akin to David, offering hope and standing firm against disinformation.

In her photographs, Hannah Reyes Morales emphasizes the significance of critical journalism and the battle against disinformation. She also focuses on the various communities impacted by these false narratives, revealing the broader social context of the crisis. A recurring motif in her work is the light that illuminates the faces on the other side of the screen, conveying differing meanings. The light can signify truth and hope, yet it can be the one that undermines democracy and integrity. Morales’ photo exhibition is a stark reminder of the danger posed by disinformation and the need for sources of light and hope in the face of darkness.