Frances Guerin asks how the documentary films and photographs of amateurs, soldiers, and bystanders shape our memories of World War II and the Holocaust. Guerin shows how modern uses of these images often reinforce well-rehearsed narratives of cultural memory, offering a critical perspective on how we can incorporate such images into processes of witnessing the traumas of the past in the present.
Subjects: Art & Art History
Table of Contents
You are viewing the table of contents
You do not have access to this
on JSTOR. Try logging in through your institution for access.