Ana Paula da Rosa 162 plex items derived from the process of “putting into fluxes.” Thus, to resume the “appearance” of images of children’s faces and observe their logic, we need to recover some traces of the events to which they refer. Omran Daqneesh’s photograph (fig. 02), aged five, was taken by Mahmoud Raslan for the opposition group Aleppo Me- dia Center (AMC), which, despite being a media conglomerate, uses the work of amateurs, activists. Daqneesh was found in the wreckage of a building in Aleppo in August 2016. His image gained wide circularity due to the boy’s face covered in blood, in shock, but not refusing to look at the camera. As soon as it was posted, it was inscribed in countless media spaces - hegemonic or not. The author of the image, Raslan, said, in an interview to The New York Times newspaper, that the picture was produced with the purpose of “going viral so that the world would know what life is like here.” This objective was reached when the photograph started to compose the world’s media coverage and also to generate comments and strains among mediatized social ac- tors who, on their social media, began to re-elaborate the meanings of the fact. Interestingly, Daqneesh’s picture was linked to Aylan Kurdi’s, but the Syrian war itself was only a background: that is, it did not become a highlighted visible agenda. The image of the child and his face was extensively addressed. Figure 02 – Photograph produced in a rescue carried out in Syria Retrieved from: Raslan for Reuters (Available at: http:// g1.globo.com/mundo/noticia/2016/08/lagrimas-comecaram- cair-diz-autor-de-foto-do-menino-omran-na-siria.html)
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