In the discourse on photographs taken by the SS or the Wehrmacht at concentration camps, ghettos, and during mass shootings, the ‘perpetrators’ gaze’ or ‘perpetrators’ perspective’ is referred to repeatedly. Notwithstanding the ubiquity of the term, theoretical or empirical approaches to the issue are largely missing from the discussion. Drawing on a well-known photo album produced by SS-photographers at the Auschwitz II (Birkenau) concentration camp in 1944, this article analyses the photographic mediation and narration of events preceding the mass murder of hundreds of thousands of Jewish deportees from Hungary. To this end, the paper explores the limited scope of the representation, the construction of an alleged rationale behind the murder and various dimensions of photography in the context of violence.
{"title":"Challenging the Perpetrators’ Narrative: A Critical Reading of the Photo Album ‘Resettlement of the Jews from Hungary’","authors":"U. Koppermann","doi":"10.21039/jpr.2.2.38","DOIUrl":"https://doi.org/10.21039/jpr.2.2.38","url":null,"abstract":"In the discourse on photographs taken by the SS or the Wehrmacht at concentration camps, ghettos, and during mass shootings, the ‘perpetrators’ gaze’ or ‘perpetrators’ perspective’ is referred to repeatedly. Notwithstanding the ubiquity of the term, theoretical or empirical approaches to the issue are largely missing from the discussion. Drawing on a well-known photo album produced by SS-photographers at the Auschwitz II (Birkenau) concentration camp in 1944, this article analyses the photographic mediation and narration of events preceding the mass murder of hundreds of thousands of Jewish deportees from Hungary. To this end, the paper explores the limited scope of the representation, the construction of an alleged rationale behind the murder and various dimensions of photography in the context of violence.","PeriodicalId":152877,"journal":{"name":"Journal of Perpetrator Research","volume":"126 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131337696","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As a response to Cortis and Sonderegger’s re-take of the Abu Ghraib picture, this paper will discuss a picture taken by taken by Heinrich Hoffman, Hitler’s personal photographer, on 6 June 1941. The picture in question depicts the first meeting between Ante Pavelic, the leader of the Croatian fascist Ustasha movement, and Hitler.
{"title":"Photography, Collaboration and the Holocaust: Looking at the Independent State of Croatia (1941-1945) through the Frame of the 'Hooded Man'","authors":"Lovro Kralj","doi":"10.21039/jpr.2.2.46","DOIUrl":"https://doi.org/10.21039/jpr.2.2.46","url":null,"abstract":"As a response to Cortis and Sonderegger’s re-take of the Abu Ghraib picture, this paper will discuss a picture taken by taken by Heinrich Hoffman, Hitler’s personal photographer, on 6 June 1941. The picture in question depicts the first meeting between Ante Pavelic, the leader of the Croatian fascist Ustasha movement, and Hitler.","PeriodicalId":152877,"journal":{"name":"Journal of Perpetrator Research","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115820911","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ever since its invention in 1839, photograph has shaped reality and the way in which we experience it. Photography has authority. An air of neutrality surrounds the medium, stemming from its inherent technological core. Hints of imperfection can be easily considered to be truthful translations from the real context or attributed to characteristics of the apparatus. With authority comes power. Photographs not only support the news, they have the ability to channel them. Frequently referred to in medical, historical and forensic analysis, they are used as plausible evidence to convince and potentially convict. They are, moreover, a useful instrument for surveillance and control. In their work, photographers make numerous choices, consciously as well as subconsciously, regarding what to focus on, what to exclude, when to shoot, how to edit and what results to share with their audiences. Depending on what the photographer wishes to convey or question, spatial-temporal decisions are made, allowing us to deeply engage with the images and experience the captured situation in the present, from up close – as if we were there in person. One could question how a medium – believed to objectively represent reality – could be subject to such a vast array of options. In other words, can a photograph ever be the objective means of representation that we take it for? Through their photographed installations, Jojakim Cortis and Adrian Sonderegger appear to address this question, while redesigning the borderlands between reality and fiction. World history in photographic record now turns into a crafted stage and once again into photography, framed with props – functioning both as toolbox and archive. Skilfully pointing out how our perception can be manipulated, the artists invite us to remember and review the original iconic images upon which their series is based and contemplate their historical reception. In this way, they dare us to critically reflect on the daily
{"title":"Photography, Perpetratorship and Responsibility","authors":"Rabiaâ Benlahbib","doi":"10.21039/jpr.2.2.48","DOIUrl":"https://doi.org/10.21039/jpr.2.2.48","url":null,"abstract":"Ever since its invention in 1839, photograph has shaped reality and the way in which we experience it. Photography has authority. An air of neutrality surrounds the medium, stemming from its inherent technological core. Hints of imperfection can be easily considered to be truthful translations from the real context or attributed to characteristics of the apparatus. With authority comes power. Photographs not only support the news, they have the ability to channel them. Frequently referred to in medical, historical and forensic analysis, they are used as plausible evidence to convince and potentially convict. They are, moreover, a useful instrument for surveillance and control. In their work, photographers make numerous choices, consciously as well as subconsciously, regarding what to focus on, what to exclude, when to shoot, how to edit and what results to share with their audiences. Depending on what the photographer wishes to convey or question, spatial-temporal decisions are made, allowing us to deeply engage with the images and experience the captured situation in the present, from up close – as if we were there in person. One could question how a medium – believed to objectively represent reality – could be subject to such a vast array of options. In other words, can a photograph ever be the objective means of representation that we take it for? Through their photographed installations, Jojakim Cortis and Adrian Sonderegger appear to address this question, while redesigning the borderlands between reality and fiction. World history in photographic record now turns into a crafted stage and once again into photography, framed with props – functioning both as toolbox and archive. Skilfully pointing out how our perception can be manipulated, the artists invite us to remember and review the original iconic images upon which their series is based and contemplate their historical reception. In this way, they dare us to critically reflect on the daily","PeriodicalId":152877,"journal":{"name":"Journal of Perpetrator Research","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121565155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Refaced/Defaced: Using Photographic Portraits of Khmer Rouge Perpetrators in Justice, Education and Human Rights Activism in Cambodia","authors":"Stéphanie Benzaquen-Gautier","doi":"10.21039/2.2.32","DOIUrl":"https://doi.org/10.21039/2.2.32","url":null,"abstract":"","PeriodicalId":152877,"journal":{"name":"Journal of Perpetrator Research","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123631030","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: The Participants. The Men of the Wannsee Conference, ed. by Hans-Christian Jasch and Christoph Kreutzmuller, trans. by Charlotte Kreutzmuller-Hughes and Jane Paulick (New York: Berghahn, 2017). 354 pp. $19.95 (pb). ISBN: 978-1-78533-671-3.
{"title":"A Biographical Approach in Holocaust Studies","authors":"Derk Venema, A. Jettinghoff","doi":"10.21039/JPR.2.1.25","DOIUrl":"https://doi.org/10.21039/JPR.2.1.25","url":null,"abstract":"Review of: The Participants. The Men of the Wannsee Conference, ed. by Hans-Christian Jasch and Christoph Kreutzmuller, trans. by Charlotte Kreutzmuller-Hughes and Jane Paulick (New York: Berghahn, 2017). 354 pp. $19.95 (pb). ISBN: 978-1-78533-671-3.","PeriodicalId":152877,"journal":{"name":"Journal of Perpetrator Research","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124863938","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Guenter Lewy, Perpetrators: The World of the Holocaust Killers (New York: Oxford University Press, 2017). 208 pp. 13 illustrations. $29.95 (pb). ISBN: 9780190661137.
{"title":"Holocaust Perpetrators and Historiographic Blind Spots","authors":"K. Anderson","doi":"10.21039/JPR.2.1.26","DOIUrl":"https://doi.org/10.21039/JPR.2.1.26","url":null,"abstract":"Review of: Guenter Lewy, Perpetrators: The World of the Holocaust Killers (New York: Oxford University Press, 2017). 208 pp. 13 illustrations. $29.95 (pb). ISBN: 9780190661137.","PeriodicalId":152877,"journal":{"name":"Journal of Perpetrator Research","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122714748","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
While Gudehus’ views have opened up a necessary theoretical debate about categories used to analyze perpetration, we should be cautious when considering such arguments, particularly when examining the concept of political violence. Hence, in this essay I argue that Gudehus’ claim that “political” is too narrow of a concept when accounting for episodes of collective violence might not be the case when examining the Latin American experience with extreme forms of violence, such as genocide.
{"title":"Examining the Political and Military Power in Latin America: a Response to Christian Gudehus","authors":"Marcia Esparza","doi":"10.21039/JPR.2.1.9","DOIUrl":"https://doi.org/10.21039/JPR.2.1.9","url":null,"abstract":"While Gudehus’ views have opened up a necessary theoretical debate about categories used to analyze perpetration, we should be cautious when considering such arguments, particularly when examining the concept of political violence. Hence, in this essay I argue that Gudehus’ claim that “political” is too narrow of a concept when accounting for episodes of collective violence might not be the case when examining the Latin American experience with extreme forms of violence, such as genocide.","PeriodicalId":152877,"journal":{"name":"Journal of Perpetrator Research","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130243040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Lisa Blaydes, State of Repression: Iraq under Saddam Hussein (Princeton, NJ: Princeton University Press, 2018). 376 pp. USD 35 (hb). ISBN: 9781400890323
{"title":"The Repressive Regime of the Vigilant State","authors":"S. Hoffmann","doi":"10.21039/JPR.2.1.27","DOIUrl":"https://doi.org/10.21039/JPR.2.1.27","url":null,"abstract":"Review of: Lisa Blaydes, State of Repression: Iraq under Saddam Hussein (Princeton, NJ: Princeton University Press, 2018). 376 pp. USD 35 (hb). ISBN: 9781400890323","PeriodicalId":152877,"journal":{"name":"Journal of Perpetrator Research","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116383611","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A fixed and reductionist “image” of the perpetrator in filmed media is one with which audiences are all too familiar, whether consciously or not. This article uses perpetrator trauma theory, empathic appeals, unsettlement, and the uncanny to explore the South African television programme Truth Commission Special Report in order to illustrate the ways in which the broadcast challenged or reified the conception of perpetrators as “monsters.” This will be exemplified through an analysis of several segments from the programme as it covered the Truth and Reconciliation Commission in transitional South Africa, and particularly its amnesty hearings of apartheid era perpetrators.
{"title":"Perpetrator Trauma, Empathic Unsettlement, and the Uncanny: Conceptualizations of Perpetrators in South Africa’s Truth Commission Special Report","authors":"Michelle E. Anderson","doi":"10.21039/JPR.2.1.17","DOIUrl":"https://doi.org/10.21039/JPR.2.1.17","url":null,"abstract":"A fixed and reductionist “image” of the perpetrator in filmed media is one with which audiences are all too familiar, whether consciously or not. This article uses perpetrator trauma theory, empathic appeals, unsettlement, and the uncanny to explore the South African television programme Truth Commission Special Report in order to illustrate the ways in which the broadcast challenged or reified the conception of perpetrators as “monsters.” This will be exemplified through an analysis of several segments from the programme as it covered the Truth and Reconciliation Commission in transitional South Africa, and particularly its amnesty hearings of apartheid era perpetrators.","PeriodicalId":152877,"journal":{"name":"Journal of Perpetrator Research","volume":"98 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115356765","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Claudine Kayitesi is convinced that the causes and dynamics of genocide, or ‘the truths’ as she called them, will remain unknown to us. As a survivor of the Rwandan genocide, and not as a scholar, she stated that the root causes of genocide are ‘not two or three roots, but a whole tangle that has mouldered underground.’ She uses the metaphor of a tangle, a confused mass of something twisted together. Personally, I think this is one of the better representations I have read studying the complexity of collective violence. Indeed, mass murder, genocide, terrorism, have no clear and distinct set of causes, like a tree has some major roots that are feeding it. A rhizome, such as the tangled roots of bamboo, is a better representation of what lies underneath these processes. In using this metaphor Kayitesi shifts from a tree-root approach towards a more rhizomatic approach of the highly complex interplay of actors, actions, contexts and cascade dynamics that give rise to genocidal processes. The current academic models we use to untangle this complex interplay of (f)actors have had their merits and advanced our understanding, but for the moment we are in desperate need of integrating them into new whole(s).
{"title":"Some Remarks on the Complexity of Collective Violence - Understanding the Whole","authors":"C. Busch","doi":"10.5334/JPR.2.1.21","DOIUrl":"https://doi.org/10.5334/JPR.2.1.21","url":null,"abstract":"Claudine Kayitesi is convinced that the causes and dynamics of genocide, or ‘the truths’ as she called them, will remain unknown to us. As a survivor of the Rwandan genocide, and not as a scholar, she stated that the root causes of genocide are ‘not two or three roots, but a whole tangle that has mouldered underground.’ She uses the metaphor of a tangle, a confused mass of something twisted together. Personally, I think this is one of the better representations I have read studying the complexity of collective violence. Indeed, mass murder, genocide, terrorism, have no clear and distinct set of causes, like a tree has some major roots that are feeding it. A rhizome, such as the tangled roots of bamboo, is a better representation of what lies underneath these processes. In using this metaphor Kayitesi shifts from a tree-root approach towards a more rhizomatic approach of the highly complex interplay of actors, actions, contexts and cascade dynamics that give rise to genocidal processes. The current academic models we use to untangle this complex interplay of (f)actors have had their merits and advanced our understanding, but for the moment we are in desperate need of integrating them into new whole(s).","PeriodicalId":152877,"journal":{"name":"Journal of Perpetrator Research","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121214594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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