Photography and War

"Andreas Philippopoulos-Mihalopoulos opens the book with his latest contribution to his comprehensive project of re-theorising spatial justice with a piece titled ‘Spatial Justice in a World of Violence’. Through a close reading
of the photographic series Fortunes of War, Life Day by artist Eric Lesdema,
Philippopoulos-Mihalopoulos is interested in how these images reveal peripheral
spaces at the edge of violence which impose an ethic of spatial responsibility on the
viewer in the act of turning away and looking elsewhere. While no acts of explicit
violence are shown in the images, we are left with no doubt that violence is ubiquitous
along the spatio-temporal continuum. This continuum of violence between
bodies raises questions of complicity and responsibility. Do we submit to a state
of affairs in which space is saturated with the everyday and immobilised violence
of the ‘engineered atmosphere’ – or is it also possible for bodies to withdraw from
the atmosphere, through ruptures and folds within the continuum? Such a notion
raises the ethical possibility of the ‘emergence of spatial justice’." Chris Butler and Edward Mussawir (eds)

‘Het overlijden van een oorlogsfotograaf is meer dan
alleen een persoonlijke tragedie voor familie, vrienden,
en collega’s. Het tast ook onze zintuigen aan’, zegt
onderzoeker Wilco Versteeg. Hij werkt aan een
proefschrift over hedendaagse oorlogsfotografie aan de
Université Paris Diderot.

Christina Schwenkel's absorbing study explores how the "American War" is remembered and commemorated in Vietnam today―in official and unofficial histories and in everyday life. Schwenkel analyzes visual representations found in monuments and martyrs' cemeteries, museums, photography and art exhibits, battlefield tours, and related sites of "trauma tourism." In these transnational spaces, American and Vietnamese memories of the war intersect in ways profoundly shaped by global economic liberalization and the return of American citizens as tourists, pilgrims, and philanthropists.

De thesis 'Oorlogsfotografie en haar foto-esthetiek: Oorlogsfoto's van Pulitzer, Picture of the Year international en World Press Photo, van 1962 tot 2014' bespreekt drie luiken van oorlogsfotografie. Ten eerste stel ik een definitie voor van oorlogsfotografie die toelaat om foto's van zowel voor, na als tijdens een gewapend conflict onder eenzelfde noemer te bespreken. Ten tweede bespreek ik tijdelijke trends tussen 1962 en 2014. Vervolgens bespreek ik de voorkeuren van enkele prijsuitreikingsorganisaties: Pulitzer, Picture of the Year international en World Press Photo. Het onderzoek bestaat uit twee delen. Eerst is er een systematisch-kwantitatief deel waarin een corpus wordt onderzocht, dat bestaat uit 344 oorlogsfoto's van 1962 tot 2014, van de drie voorgenoemde organisaties. Hierna volgt een kwalitatief deel rond een case study: het foto-essay Saleh Khalef van Deanne Fitzmaurice. Het onderzoek toont aan dat de foto's in het algemeen sensationeler en dramatischer worden en ze vaak etnocentrisch zijn. Westerse prijsuitreikingsorganisaties reiken meer prijzen uit aan oorlogsfoto's met blanke soldaten en conflicten waarbij de Verenigde Staten nauw betrokken zijn. Sinds de 21ste eeuw komen er nieuwe aspecten van oorlog aan bod, zoals de gevolgen van oorlog voor de burgers. Een belangrijke uitzondering hierop is Breaking News-fotografie, dat zich veelal beperkt tot foto's in het heetst van de strijd, wat kan leiden tot een eenzijdig, fout of zelfs geromantiseerd beeld van oorlog en de betrokken etnische groepen.

Kao dio 8. Međunarodnog festivala fotografije „Organ vida“  14. septembra predstavljena je izložba „Lekcije iz '91.“. Izložbu postavljenu u Galeriji Zvonimir  u Zagrebu kurirala je Sandra Vitaljić, jedna od najznačajnijih fotografkinja u ovom dijelu Evrope te autorica udžbenički vrijedne knjige Rat slikama – suvremena ratna fotografija u kojoj je analizirala zloupotrebu ratnih fotografija kroz povijest sa posebnim osvrtom na manipulaciju fotografijama nastalim u ratovima nakon raspada Jugoslavije.

As I write this essay, a massive vinyl poster showing a photographed face of a little Pakistani girl who lost both parents and two young siblings in a drone attack in 2010 has been installed facing up among mud huts and farms in the heavily bombed Khyber Pakhtunkhwa region of Pakistan, the tribal regions bordering Afghanistan.

Lee Miller’s photographs of the London Blitz, including the twenty-two published in Ernestine Carter’s Grim Glory: Pictures of Britain Under Fire (1941), effectively demonstrate what Susan Sontag described as “a beauty in ruins”. As a former student and muse of Man Ray during the 1930s and a close associate of the Surrealists in Paris, Miller was able to utilize her knowledge of Surrealism, and other art forms, to create an aestheticized reportage of a broken city ravished by war. In Miller’s case, her war photographs may be deemed aesthetically significant by considering her Surrealist background and by analyzing her images within the context of André Breton’s theory of “convulsive beauty”—his idea that a scene of destruction can be represented or analyzed as something beautiful by convulsing, or transforming, it into its apparent opposite. Miller’s war photographs, therefore, not only depict the chaos and destruction of Britain during the Blitz, they also reveal Surrealism’s love for quirky or evocative juxtapositions while creating an artistic visual representation of a temporary surreal world of fallen statues and broken typewriters. As Leo Mellor writes about these dualities, “The paradox of Miller’s wartime reportage was announced in the title of her book of documentary photographs, Grim Glory; that is to say, the coexistence of darkening mortality and ideal exaltation, like a Baroque conceit”.

Chapter One focuses on melodrama and the cultural politics of dying for one’s country. The national icon at the heart of the chapter is the photograph by Joe Rosenthal, of Marines (and a figure long believed to be a Navy corpsman) planting a flag on Mt. Suribachi, Iwo Jima, in 1945.  By carefully unpacking both the image and its reception context, I argue that its enduring iconic power is grounded in the circumstances of its production and original reception, the most important feature of which is the background of mass death against which the image was taken and transmitted. After discussing the battle itself and recent revelations about its causes and lack of clear purpose, I take a close look at Sands of Iwo Jima (1949), the highly melodramatic film that commemorated that battle more effectively for American audiences, and which elevated John Wayne to military hero status by associating him with it. I also discuss the Marine Memorial version of the flag-raising image, which transformed the photo into a massive sculpture that now stands in Arlington Cemetery.

The paper examines selected official photographic material commissioned by the Australian Department of Information during the short-lived campaign in Greek mainland, from March to May 1941.The dual role of these photographs was to inform and persuade positively the Australian public about the Greek campaign but also to record a part of Australian history. The paper argues that these propaganda photographs from the collections of the Australian War Memorial offer an important insight into a neglected part of the photographic record of the Second World War, as they throw light on  what was considered newsworthy in Australia and discuss how tensions within the government and the institutional bodies that produced them,  affected the construction of the image of Greece and Greeks during their brief encounter with the Australian soldiers in mainland Greece .

This study reports the findings of a systematic visual content analysis of 356 randomly sampled images published about the Iraq War in Time, Newsweek, and U.S. News and World Report from 2003-2009. Compared to a 1995 Gulf War study, published images in all three newsmagazines continued to be U.S.-centric, with the highest content frequencies reflected in the categories U.S. troops on combat patrol, Iraqi civilians, and U.S. political leaders respectively. These content categories do not resemble the results of the Gulf War study in which armaments garnered the largest share of the images. This study concludes that embedding photojournalists, in addition to media economics, governance, and the media-organizational culture, restricted an accurate representation of the Iraq War and its consequences. Embedding allowed more access to both troops and civilians than the journalistic pool system of the Gulf War; however, the perceived opportunity by journalists to more thoroughly cover the war through the policy of embedding was not realized to the extent they had hoped for. The embed protocols acted more as an indirect form of censorship.

Full programme of the international online conference "(Re)pensar Malvinas / (re)thinking Falklands — Visiones y versiones en las culturas argentina y británica / Visions and Versions in Argentinian and British Cultures" (1982–2022).
The event is hosted jointly by the School of Modern Languages (Cardiff University) and the Instituto de Investigaciones Gino Germani (Facultad de Ciencias Sociales, Universidad de Buenos Aires)
Free Registration (deadline: 5 April 2022, 13:00 BST): https://bit.ly/3LmVaYE
Twitter: @malvinas2022
Facebook: https://www.facebook.com/MalvinasFalklands2022

This article focuses on the relations between a notion of humanism dear to some European left intellectuals and artists, and the use of photography as left propaganda in the 1920s and 1930s. Photography started to participate in the war at the same time when technique became predominant in warfare. At the first moment, the expansion of this warfare, which left the scope of man to become the scope of machine, brought a challenge to the photographers who wanted to cover the event. At the end of the First World War, the apology of technique was associated to a position aligned with the nationalist right wing, whereas its opponent, the left wing, based itself on a transnational and humanist discourse. This political culture then established, of polarization between fascist nationalism and European left wings cannot be dissociated from a visual culture which was being built based on the same polarization. We will discuss in this article the relationship between the political and visual cultures specifically in relation to photography.

Gündelik yaşamımızda evimizin tepesine bir bombanın düşmesi ya da sokağımızda silahlı adamların birbirine ateş etmesi sık şahit olduğumuz bir durum değildir. Bu tip durumlara savaş fotoğrafları üzerinden görsel şahitlik yaparız. Fotoğraflar, her zaman savaşın gerçekliğini gösteremezler. Bertold Brecht'in dediği gibi "Krupp fabrikasının bir fotoğrafı bize bu fabrika hakkında çok az şey söyler." Aynı şekilde bir savaş fotoğrafı da, üzerindeki imgelerin dışında pek bir şey gösteremez ve söyleyemez. İzleyici, fotoğrafın alt yazısı, manşeti ya da o savaşa dair başka kaynaklar tarafından üretilmiş yazı ve görseller tarafından kodlanır. Bir savaşa dair oluşan fikrimiz, savaşın doğru ve desteklenmesi gerektiği veya yanlış ve durdurulması gerektiği gibi, bu tip yazı ve görsellerin üzerimizde yarattığı etkiyle şekillenir. Bu çalışmanın konusu da toplumun kitle iletişim araçları üzerinden gerçekleşen savaş propagandasıyla savaşa olan ilgisinin ve desteğinin nasıl ayakta tutulduğudur. Çalışma iki bölümden oluşmaktadır. Çalışmanın birinci bölümünde propagandanın fotoğraflar üzerinde hangi yöntemlerle işlendiği ve ideoloji kavramının, bu işlem sürecinin merkezi olan kitle iletişim araçlarında ki belirleyici rolü açıklanmıştır. Devam eden bölüm ise kronolojik olarak ele alınan savaş fotoğraflarının, birinci bölümde sunulan kuramsal zemin üzerinden analizine ayrılmıştır. Bu analizde fotoğrafın icadından bugüne geçen 153 yıl içinde yaşanan birçok savaştan, tezimizi eksiksiz sunabilmek adına sırasıyla: Kırım olarak seçilen savaşlardan elde edilen fotoğraf ve imgelerin hangi şartlarda üretildikleri ve kamuoyuna sunulurken hangi yöntemlerin kullanıldığı yine ikinci bölümde tartışılmıştır. V SUMMARY In our daily lives it isn't a frequent situation that a bomb drops on our houses or men with guns shoot eachother in our street. In this kind of situations we testify visually by means of war photographs. Photographs do not always express the reality of wars. As Bertold Brecht said "A picture of the Krupp Factory tells a little about this factory". Just like this, a war photograph cannot express much, except for the images on it. The spectator is encoded by the subtitles, headlines of photographs, or by articles or visuals produced by other sources about wars. Our idea about a war, that a war is fair and needs to be supported or that a war is unfair and needs to be ended, is formed by the effects of this kind of articles and visuals on us. The theme of this work is how a society's concern and support are kept alive by the propaganda of wars by means of mass media. This work consists of two parts. In the first part how propoganda is treated on photographs by what kind of methods and the determinative effect of propoganda on mass media that is the centre of this process are discussed. The following part is allocated in order to analyse the chronologically discussed photographs out of the theoretical background which is explained in the first part. In this analyses the photographs of wars in the last 153 years ,from the invention of photograph till today, have been chosen in order Iraq War (2003-….) How the chosen photographs and images are taken and what kind of systems are used in order to present them to public opinion are discussed in the second part also. VI "Fotoğraflar yalan söylemez, ama yalancılar fotoğraf çekebilir." Lewis HİNE . 5 Louis Althusser, İdeoloji ve Devletin Fotoğraf 50: Velid Ebüzziya, İstanbul'un işgali sırasında Şehzadebaşı Karakolu'nda öldürülen askerler.

According to social anthropologist Jonathan Webber, "the historical memory is selective; it does not and cannot recall everything. This is what thinking in symbols, or thinking with symbols, is about: to treat part of the history as representative of the whole, to shrink it down to something of a manageable size". 1 For the war photographer, the real problem is not necessarily documenting the effects of human destruction and dealing with the ethical connotations that images of war inevitably provoke. The primary issue is how to frame the horror in both the photographic and conceptual sense of the word and knowing what to omit from the camera's gaze. As the former assistant and muse of the Dada-Surrealist artist Man Ray, Lee Miller approached the Second World War by applying her knowledge of Surrealist methodologies including the practices of juxtaposition, fragmentation and polarisation. Therefore, by viewing a scene of devastation from an artistic perspective, Miller could deconstruct the horror of war--and the Holocaust, in particular-into smaller fragments. This creative process, in turn, allows viewers of these atrocity photographs to assimilate what they are being confronted with and, subsequently, assists them in attempting to understand or come to terms with the atrocities piece by piece rather than as an overwhelming whole (if that is indeed possible). Subsequently, this practice of artistic deconstruction enables the viewer, not only to see but also to remember the specific details rather than simply an overview of the war.

Susan Sontag in her 2003 book Regarding the Pain of Others suggests that images of war and destruction can be interpreted as aesthetic objects--that there is “a beauty in ruins”. A landscape of war is still a landscape. A painting depicting war is still a piece of art. Lee Miller’s photographs taken during the latter years of World War Two demonstrate this argument--that images of war can be justified as being aesthetic artefacts through the photographer’s creative use composition and form and by considering the image within the context of the Surrealist Andre Breton’s theory of “convulsive beauty”, his idea that anything can be deemed beautiful even the most disturbing or horrific of subjects. A scene of death and destruction can, therefore, be transformed into something beautiful, something aesthetic by convulsing it into its apparent opposite.

This paper will discuss how Miller’s war photographs can be interpreted as aesthetic by analysing how Miller uses her knowledge of art--through the creative use of composition and form and the application of Bretonian Surrealism--and by arguing that a war photograph often involves a hybrid-aesthetic, justified by its interpretation as a combination of art and historical documentation. Miller’s photographs taken at the Buchenwald and Dachau concentration camps, therefore, not only inform and act as crucial documentary evidence that the holocaust existed, they also show scenes photographed with a great sensitivity, a need to inform, technical excellence and the presence of a “surrealist eye”.

Die Ambivalenz von Zeigen und Verbergen, von Offenlegen und Verhüllen spielt
in der Bildenden Kunst seit jeher eine zentrale Rolle. Insbesondere im Bildgegenstand
des Vorhangs hat dieses Motiv eine historisch vielgestaltige Behandlung
erfahren. Nach einer heute eher fremd erscheinenden Praxis verschwanden
Gemälde einstmals hinter Vorhängen, um sie entweder vor Schäden oder
den Widrigkeiten der Umgebung zu bewahren oder aber, um sie nur zu festlichen,
häufig auch liturgisch-sakralen Anlässen der Betrachtung zuzuführen.1
Berühmt ist die durch Plinius d. Ä. überlieferte Legende über einen gemalten
Vorhang, mit dem es Parrhasios gelang, seinen Konkurrenten Zeuxis zu
überlisten, der den gemalten Vorhang für wahr nahm. Seither ist der Topos der
Verwechslung von Repräsentation und Repräsentiertem, wie etwa zur Blütezeit
der Trompe-l’oeil-Malerei des 17. Jahrhunderts, fest in der Geschichte der
Malerei etabliert. Aber auch in umgekehrter Richtung hat der Bildvorhang eine
Praxis gezeitigt, die vermutlich sogar noch länger währt als die soeben beschriebene.
So wurden besonders wirkmächtig, explizit oder anstößig erscheinende
Darstellungen mitunter hinter Vorhängen verhüllt, jedoch weniger um die
Gemälde selbst, als vielmehr die Gefühle der Betrachter oder aber die Interessen
der Eigentümer zu wahren. ...

It can be argued that the nature of photography becomes drastically altered, and its identity changes according to the uses it is put to. This article will discuss the many aspects of photojournalism that shape and manipulate the current status of photography. Its origin as a means of objective documentation will be critically analysed in relation to its uses in war photography, political agendas and propaganda. The theories of Susan Sontag and Roland Barthes, among others, will be drawn on to evaluate the extent to which photography is autonomous, changing and transforming depending on how it is employed. The conclusions drawn from the research show how photography has become a malleable artefact, capable of changing its identity in a post-modern context, and thus posing challenges for our concept of reality.

This article reconsiders the politics and aesthetics of aftermath photography through Gene Ray's theories of the sublime and Rosemary Laing's photograph welcome to Australia (2004), which documents the Woomera refugee detention centre, to offer a better understanding of what is at stake in this new mode of documentary photography.

Third Text, 28.6 (December, 2014), 555-562

Francisco de Goya realizó entre los años 1810 y 1820 la serie de grabados al aguafuerte conocidos como Los desastres de la guerra. Fueron publicados de forma póstuma en 1863. Entre las razones por las que no se publicaran hasta ese año, probablemente se encuentre el lenguaje hipercrítico de las imágenes. Además, Goya acabó la serie ya efectuada la restauración absolutista de Fernando VII. En cualquier caso, muchos de los recursos que el artista emplearía en dos de sus obras más icónicas -El levantamiento del 2 de mayo y El 3 de mayo de 1808-, pintadas en 1814, se aprecian en los Desastres. El pintor rompe con la composición clásica, mostrando mediante el desorden el lenguaje de violencia propio de la guerra (Balsalobre, 2002, p. 16).

Artículo divulgativo sobre el fondo fotográfico de la Primera Guerra Mundial que conserva la Biblioteca Nacional de España, recientemente catalogado. Se trata de un conjunto fotográfico compuesto de unas 500 imágenes en papel generadas por agencias de fotografía y departamentos de propaganda en las que se muestran diferentes aspectos de la Gran Guerra.

Co-authored article with Pippa Oldfield
Journal of War & Culture Studies, 9 (2016), 94-114

ABSTRACT:
This article offers a critique of conventional histories of war photography which have tended to have a narrow focus on the biographies of individual renowned photojournalists or particular aesthetically striking images of conflict. We argue the need in addition for an expanded conception of war photography which encompasses not only reportage, but myriad of other uses in wartime of photographic images and technologies, from reconnaissance imagery to the application of innovations made by photographic companies in the development of weaponry and other military hardware. In parallel, we argue for an appreciation of the broader network of actors, organisations and institutions relevant to war photography in this sense—a network encompassing not only the military and the state, but also photographic companies, weapons manufacturers, individual entrepreneurs, media companies and the public. We proffer the term ‘war photography complex’ as shorthand for this broad cultural phenomenon encompassing visual material and technologies developed and deployed within the extensive field of wartime image production, circulation and consumption. In illuminating this war photography complex, we aim to prompt a broader sustained engagement with the reciprocity between, on the one hand, the strategy and prosecution of war and, on the other hand, photographic practices and products. The case is also made for the contribution of business history (representing a valuable array of critical approaches and concepts) to examining war photography, acting as a much-needed supplement to methodologies from cultural history and critical theories of photography studies. Finally, discussing war photography from the Second World War to the Cold War, we articulate the key research questions which constitute this proposed research agenda, as well as exemplify aspects of the war photography complex relevant to this historical moment by drawing from the articles which constitute the remainder of this special issue.

In the course of the 20th century, the perception of people who have been harmed by violence or who are forced to lead their lives under permanently threatening conditions has undergone a fundamental change. With the extensive loss of transcendental, but increasingly also innerworldly instances of meaning for human suffering – such as the (self-)sacrifice on the altar of the fatherland – pain and violent death became the cause of moral outrage, from which claims for help and compensation could be derived. The planned conference will try to examine to what extent this change was also caused by a higher (or a different) visibility of suffering people.
Images, so the thesis, promoted substantially the partial replacement of the cult of the dead hero in favour of the myth of the innocent victim as a new moral leading figure, be it in the form of the traumatised survivor or the mourning relative. But they also slowed down, undermined and differentiated this process in a multitude of "Bildakte" (H. Bredekamp) that need to be examined more closely and above all contextualized comprehensively. The central importance of the visual for the social constructions of victims and the strong emotions associated with it is already evident in the intensively conducted debates on an ethics of showing and regarding images of violence that have accompanied the history of photography since its beginnings. "What can be shown, what should not be shown – few issues arouse more public clamor," Susan Sontag summed up in her famous essay "Regarding the pain of others".

https://www.uni-goettingen.de/de/document/download/a032b8a9332c9a0a633d3bd64f07d92c.pdf/Opferbilder%20Conference%20Programme%20and%20Proposal.pdf

Resumen:
El artículo aborda el nacimiento de la fotografía de guerra en España con la Guerra de África (1859-60). El fotógrafo pionero fue Enrique Facio, del que analizamos su obra. Empleamos las crónicas de guerra de Pedro Antonio de Alarcón, Diario de un testigo de la Guerra de África, que sirven para establecer la relación de las ilustraciones con las crónicas y porque los datos sirven para fijar algunas autorías de las fotografías. Además, se han utilizado archivos familiares, el Archivo General de Palacio (Madrid), el Archivo General Militar de Segovia y la Biblioteca Nacional. También se ha considerado a otros fotógrafos e ilustradores que retrataron la contienda bélica, como Carlos Iriarte, José Vallejo, José Requena y López, Lanos, Juan Del Peral, Dantez.


Abstract:
This paper discusses the birth of war photography in Spain during the Hispano-Moroccan War (1859-60). The pioneer photographer was Enrique Facio, whose life and works are analyzed. The war chronicles of Pedro Antonio de Alarcón, Diario de un testigo de la Guerra de África, are used not only to establish the relation between the ilustrations and the chronicles, but also to determine the authorship of some of the presented photographs. Additionally, other sources such as family archives, the Palace General Archive (Madrid), the Military General Archive of Segovia and the National Library have been employed. Moreover, other photographers and ilustrators that portrayed the military conflict have been considered: Carlos Iriarte, José Vallejo, José Requena y López, Lanos, Juan Del Peral, Dantez.

The first time that there is historical steadfastness of the presence of a photographer in a warlike conflict, as graphic correspondent is in the war of Crimea, in 1854-55. In the successive conflicts armed with importance that happen from this date, 1859 and 1860, with the reunification of Italy and other episodes in the British empire, the photo will be present. In Spain the first corresponding war photographer will be the person from Malaga Enrique Fazio, who embarks towards the called “War of Africa” in 1859 of the hand of writer Pedro Antonio de Alarcón, the main literary "witness" of this war, that would give birth to a succession of interventions and conflicts of Spain in the north of Africa that would end up by having a decisive influence in the history of Spain.

Es existiert eine Art „Kommunikation von Gewalt“ im Sinne der Bildkommunikation von und mit Krisenbildern. Dabei handelt es sich um ein bildästhetisches Erlebnis, welches in vielerlei Hinsicht ein Trauma entstehen lässt – wie kann man dieses Trauma kategorisch erfassen, es analysieren, teils um es zu verarbeiten?
Eine Arbeit über das Betrachten "des Leids der Anderen", am Beispiel von professionellen und leienhaften Fotografien der Gewalt. Blick in die Geschehen der grünen Revolution von 2009 (Iran), aus einer Zeit in der ein vermeintlicher Revolutions-Spirit im Mantel von Social-Media-Positivismus stand.
Aufstellung einer neuen Betrachtungskategorie: Die Intervisualität von Traumata durch das Betrachten von Gewaltbilder (in Anlehnung an Intertextualitätstheorien (Kristeva, Genette) und R. Barthes' Denkfiguren "punctum" und "studium").

There is but a limited scholarship on photographic sources from the Dutch military actions during the Revolusi Nasional Indonesia (Indonesian National Revolution) (1945-1949), and what exists almost entirely neglects perhaps the largest component of the archives: Dutch soldiers' amateur photographs. Yet this category of photographs has simultaneously attracted much public and media controversy. This article contends that a narrow range of soldiers' amateur photographs have thus far borne an anomalously weighty burden of proof to substantiate the nature and limits of extreme violence during the National Revolution, one that is brittle and difficult to sustain unless historians begin to broaden the focus of investigations into photographic archives.

This essay examines the production and circulation of the mug shots of the detainees generated by the Khmer Rouge machinery at the centre of torture S-21 (Phnom Penh). When they were taken, these images played a key role in the process of identifying, repressing and killing those considered enemies during the regime of Democratic Kampuchea (1975-1979). Yet, since the collapse of the Khmer Rouge, these photographs have been used to denounce their creators as if the pictures had kept no trace of their original intention and were reversible. With this purpose they have migrated from museums and art galleries to the stage, from illustrated books to the cinema and from the Internet to the criminal court devoted to judge the former KR leaders. I argue that the stories of the phenomena must be told in close relationship: firstly, the deciphering of the archive of mug shots, that is, the discovery of the negatives, the extraction of new prints, and their availability; secondly, the circulation through different public spaces and media; thirdly, the changes in the geopolitical context in such a controversial region for the international equilibrium. Although these three levels do not evolve into a mechanical dependence, they are intricately interrelated and prove the advantages of articulating technological, semiotic, and political uses of an archive that concentrates within it humain pain experienced at the very core of the 20th century.

Ο Οδυσσέας Φωκάς (1857-1946), καταξιωμένος ιμπρεσιονιστικών τάσεων τοπιογράφους, έφορος της Εθνικής Πινακοθήκης και επί σειρά ετών πρόεδρος του ΣΕΚ, υπήρξε μία από εκείνες τις περιπτώσεις καλλιτεχνών που χρησιμοποίησαν τη φωτογραφία ως προσχέδιο και εργαλείο μελέτης, καταγράφοντας τις συχνά απροσδόκητες, εμφανίσεις του ορατού. Ταυτόχρονα, ως εικονογράφος εφημερίδων όπως το Άστυ, τα τελευταία χρόνια του 19ου αιώνα χρησιμοποίησε τη φωτογραφία προκειμένου να αποθησαυρίσει γεγονότα και σκηνές από τον καθημερινό βίο της Ελλάδας. Καταπιάστηκε και με την πολεμική εικονογραφία, καταγράφοντας με το φακό του την ελληνοτουρκική σύγκρουση του 1897 και συνθέτοντας ένα πρωτότυπο φωτογραφικό έργο το οποίο δεν θέλησε να παρουσιάσει στη διάρκεια της ζωής του. Φρόντισε ωστόσο να διασωθεί και σήμερα αποτελεί ένα σπάνιας αξίας αρχειακό υλικό που μας προσφέρει, όχι μόνο μία «οθόνη» θέασης μίας εποχής από την οποία δεν διαθέτουμε πλούσια οπτικά τεκμήρια, αλλά κυρίως ένα από τα λιγοστά εγχώρια υποδείγματα χρήσης και αξιολογικής αποτίμησης της φωτογραφίας στο γύρισμα του 20ού αιώνα. Δίχως το βάρος της Τέχνης, το φωτογραφικό μάτι του Φωκά, ανήσυχο και αεικίνητο αποκαλύπτει ένα πρωτοποριακό για την εποχή του φωτογραφικό ύφος, που θυμίζει πότε τους Γάλλους πιονιέρους της φωτογραφίας του 19ού αιώνα και πότε συναντά ένα εντυπωσιακά παρεμφερές ανάλογο στον συνομήλικό και ομότεχνό του Ολλανδό ζωγράφο και ερασιτέχνη φωτογράφο George Hendrik Breitner (1857-1923).

'Kingdom's Edge' is a collection of photographs by photo-journalist Richard Humphries, focusing on Thailand's troubled deep South. The collection was compiled over a ten-year period.

The introduction to the collection is by Gerard McDermott.

'The collection captures the colourful and, at times, clashing identities and traditions of different peoples living together, yet separately; their histories and cultures sometimes overlapping, and sometimes conflicting. Some of the photos use allusions, symbolism and subtle references, while others make a virtue of plainness and immediacy. Richard's work maintains either a respectful intimacy or a sympathetic distance: at times, raw and immediate; at other times, detached.' - Gerard McDermott

World War I saw the rise of women as war correspondents. Although the presence of female journalists in the combat zones was still unusual, women of the belligerent nations as well as of neutral countries managed to gain access to the frontlines in different war theatres and to publish their eyewitness accounts and photographs in well-known newspapers and magazines. To name just a few, Sofía Casanova from neutral Spain covered the Eastern Front for the Spanish paper ABC; the American journalists

On 8 May 1945 American war photographer, Lee Miller, sent a telegraph to the editor of Vogue magazine, Audrey Withers, along with a collection of negatives that she had taken at the concentration camps at Buchenwald and Dachau, demanding “I IMPLORE YOU TO BELIEVE THIS IS TRUE!” Through these photographs she also appealed to Vogue’s readers, particularly in the United States, to be aware of, if not totally comprehend, the atrocities that had been committed by the Nazis. Her photographs, she hoped, would act as visual evidence by placing the readers directly in view of those horrors in an attempt to provoke as well as inform.
In this paper I will explore how Miller, once the muse and apprentice of the Surrealist artist Man Ray, approached the Holocaust in order to visualise the inconceivable. By using her ‘surrealist eye’ she was able to create aesthetic representations of one of the most horrific periods in human history. Miller’s images not only have great worth as historical documents, they also give expression to testimony, experience and memory of the Holocaust. In addition, I will consider the work of theorists and writers such as John Berger, Susan Sontag and Walter Lippman and their views regarding the visual representation of the Holocaust in order to explore how photographers, like Miller, were able to use their artistic skills to effectively frame the horror as a form of ‘modern memorial’  for future generations.

“The goal was to separate image from sound”, was the response from Swiss-French film artist Jean-Luc Godard to a question from a journalist who was interviewing him at a press conference set up on the occasion of the Cannes Film Festival for his current film ‘Le Livre d’image’ (The Image Book, 2018). The working title ‘Image et Parole’ (Image and Word), which was retained as the subtitle, already hints at the fact that the connection of image and language, which is accepted as a matter of course and which characterises the audiovisual medium of film, is here no longer assumed unconditionally. In the process, Godard returns to considerations he formulated as far back as 50 years ago. The year 1968 marks a crucial line of demarcation in the film artist’s work, one that can particularly be detected in the films ‘La Chinoise’ (1967) and ‘Le gai savoir’ (1969). Nietzschean nihilism, from which the latter borrowed its title, serves as a starting point for critical reflexion. Television would henceforth be chosen as a medium of this process. In this context, the episode ‘Photo et Cie’, which Godard and Anne-Marie Miéville created specifically for television as one part of their video series ‘Six fois deux’ (1976), is particularly remarkable. My presentation will focus on these various historical points, from where it will shed new light on the relationship between images and language.

Resumen: La pareja más célebre de la fotografía de prensa, Robert Capa y Gerda Taro, también es la pareja más controvertida a la hora de atribuir los méritos profesionales correspondientes a cada uno de ellos. Los criterios utilizados por Irme Schaber y Richard Whelan para la catalogación de los negativos en función del formato, no se sustentan cuando queda demostrado que la foto Muerte de un miliciano fue realizada con una Rolleiflex y no con la cámara Leica. Este dato pone en entredicho la catalogación de las fotos de Gerda Taro correspondientes al primer viaje a la Guerra Civil Española.

Why is it that among the photographs scorched into the pages of modern history nearly all the deadliest wars from the latter half of the twentieth century are missing? Despite the marked increase in publications on conflict photography about this period, the discourse overwhelmingly hinges on a limited roster of historical events (Bosnia, Iraq, Israel, Rwanda or Vietnam), with barely a trace of the world’s largest conflicts. Politics and media are often denounced for overlooking those so-called invisible wars, but the extent to which academics also continuously fail to address them in their own fields is rarely scrutinized. As a recent literary survey concerning global history since World War II revealed, for example, some of the bloodiest conflicts (Angola, Algeria, Burundi, Congo or Ethiopia) have been systematically unacknowledged. Surely, it is no coincidence that the wars written out of history are also those more often lamented for their absence of images. How to make sense of this apparent correlation between the lack of visual salience of some conflicts and their inability to register as history? ----------------------------------------------------------------------------------------------------

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Artists discussed:
Daniel Barroca; David Brits; Margarida Cardoso; Marius van Niekerk; António Ole.

Keywords:
Guerra Colonial / Arte Contemporânea / Portugal / África do Sul / Angola /