Contents

Chapters in this book

1. Frontmatter I
2. Contents V
3. Images of War Captivity – Introduction 1
4. Part I: (Self-)Representation and the Visual Aesthetics of War Captivity
5. Picture, Man, Barbed Wire – Visual Representation of Civilian Internees during the First World War 15
6. “The Love of Beauty and the Arts” – Photographs from World War I Prisoner of War Camps from the Collection of Jenő Bárkány 35
7. Adolf Sindlers Re-Education-Programm als Versöhnungsaktivität und dessen Grenzen: Fritzchens Schnappschüsse von „Utopia“ und „Dachau in Ägypten“ 53
8. Part II: Political Instrumentalisation and Propagandistic Use of Images
9. Leveraging the Captured: War Captivity and the American Imperialist Narrative in Wartime Newsreels about the Philippines 77
10. Between Diplomacy and Propaganda: Photographing Soviet POWs during the ICRC’s Visit to Stalag 315 (II F) Hammerstein on 9 August 1941 95
11. Nationale Blickverengungen und ausgeblendete Versöhnlichkeit. Bilder französischer Kriegsgefangener in Deutschland, 1870/71 121
12. Soviet Prisoners of War in Soviet State Policy and Filmic Reflections: From Irreconcilability to Public Solidarity 145
13. Unterlegene Schicksalsgenossen von der anderen Seite der Front? Sowjetische Kriegsgefangene in der finnischen Kriegsfotografie des Fortsetzungskrieges (1941–1944) 171
14. Part III: War Captivity as Performativity: Remembrance, Reconciliation and the Visual Construction of Myths
15. Helden hinter Stacheldraht. Das Totengedenken der Kriegsgefangenen des Ersten Weltkriegs 193
16. „Nermin, komm her!“ – Die Kriegsgefangenen von Srebrenica? 213
17. Reproducing Jasenovac: Appropriating Moving Images of Children as ‘Captives of War’ 231
18. Myths of “Prisoners of War” and Prospects for Reconciliation in Northern Ireland and Bosnia 249
19. Reimagining Civilian Internment and Forced Labour during the First World War through the Lens of Reconciliation: The Comic Series La Guerre des Lulus (2013–) 269
20. Notes on Contributors
21. Index 293