One of the real advantages of being able to draw in this awful context is that it affords the chance to manipulate a little of this flood of imagery and turn it back on itself; since I'm certain the vast bulk of these mega-pictures constitute a campaign of deliberate obfuscation.
This explains the western media's strange combination of squeamishness and prurience. They don't want the gory bits, thank you very much, but they are inexorably drawn towards them nonetheless. Then they shut their eyes tight at the crucial moment, for isn't such explicit imagery both tasteless and intrusive? Surely that's the bloody idea.