The book examines the disturbing phenomenon of American soldiers photographing the humiliation and torture of Iraqi prisoners, which came to light in 2004. It raises questions about public reactions—whether the outrage stems from the soldiers' actions or the act of documenting such atrocities. Additionally, it explores the broader implications of these images in the context of the ongoing conflict in Afghanistan, prompting a critical reflection on morality and accountability in wartime.
Atrocities committed by the Nazis during the Holocaust were photographed extensively. These images have been subjected to a perplexing variety of treatments: variously ignored, suppressed, distorted and--above all--exploited for propaganda purposes or political interest. This book examines the history of this aspect of the Holocaust--its aftermath and afterlife. Whether taken by Nazis or their collaborators, by Jews themselves, their sympathizers and the resistance movements in the occupied territories, or by Allied forces at the end of the war, Struk suggests that the provenance of these images has been seen as of secondary importance to their meaning and the political ends they have been used for--from the desperate attempts of the war-time underground, to the memorial museums of Europe, the US and Israel today. Struk recounts the history of the use and abuse of Holocaust photographs and asks whether or not these images can serve as "evidence", as true representations of the events they depict. The book is illustrated with a wide range of photographs, including some never before seen.
The narrative explores the lives of individuals who opposed fascism in Europe through the medium of photography. It highlights their courage and creativity in capturing moments of resistance, showcasing how images served as powerful tools for defiance against oppressive regimes. The book delves into the intersection of art and activism, revealing the significant role photography played in documenting and challenging the political landscape of the time.