The paper that comes to mind reading most of the posts/OP is Susan Sontag’s last (very short) book, “Regarding the Pain of Others (2003)”, still in print, read and studied in humanities/arts dept than in sociology. Alas does not really answer the OP in terms of strategies of pragmatic intervention, nor a depth empirical explanatory underpinning. As a broader cultural overview, the Sontag piece covers a brief historical context of horror reportage, beginning from Goya’s The Disasters of War, her critique is more embedded by Benjamin, Barthes (i.e. photography and the politics of representation) than the excesses of Deleuze, appropriately the book is without any explicit photo illustrations as “spectacle”, and includes the obligatory footnotes to Plato:
Indeed, the very first acknowledgment (as far as I am aware) of the attraction of mutilated bodies occurs in a founding description of mental conflict. It is a passage in The Republic…Socrates relates a story he heard about Leontius, son of Aglaion:
“On his way up from the Piraeus outside the north wall, he noticed the bodies of some criminals lying on the ground, with the executioner standing by them. He wanted to go and look at them, but at the same time he was disgusted and tried to turn away. He struggled for some time and covered his eyes, but at last the desire was too much for him. Opening his eyes wide, he ran up to the bodies and cried, “There you are, curse you, feast yourselves on this lovely sight.”
Declining to choose the more common example of an inappropriate or unlawful sexual passion as his illustration of the struggle between reason and desire, Plato appears to take for granted that we also have an appetite for sights of degradation and pain and mutilation. Surely the undertow of this despised impulse must also be taken into account when discussing the effect of atrocity pictures.
At the beginning of modernity, it may have been easier to acknowledge that there exists an innate tropism toward the gruesome. Edmund Burke observed that people like to look at images of suffering.
“I am convinced we have a degree of delight, and that no small one, in the real misfortunes and pains of others,” he wrote in A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757).
“There is no spectacle we so eagerly pursue, as that of some uncommon and grievous calamity.”
William Hazlitt, in his essay on Shakespeare’s Iago and the attraction of villainy on the stage, asks, "Why do we always read the accounts in the newspapers of dreadful fires and shocking murders?" Because, he answers, “love of mischief,” love of cruelty, is as natural to human beings as is sympathy.