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Double Exposure

其他書名	French Photography and Everyday Choices from Nazi Occupation to Liberation, 1940-1950
出版	ProQuest LLC, 2022
URL	http://books.google.com.hk/books?id=q3uF0AEACAAJ&hl=&source=gbs_api

註釋This dissertation examines the histories of photographers during the Nazi occupation of France and the afterlives of their photographs in postwar and contemporary France. I examine the experiences of a diversity of photographers who accepted authorization from French and German authorities and the uses of their photographs as propaganda, public information, documentary evidence, and art. I argue that the multivalent properties of photography enabled photographers' complex activities. Photographs, including many well-known and controversial images, were never the result of singular concerns or motivations. Rather, the production of photography involved an interplay of activities that superseded the boundaries between collaboration and resistance. With press credentials and photographic materials, photographers produced a range of authorized and unauthorized images which they published as propaganda, public information, historical documentation, and art. Some photographed in preparation for a postwar world in which their photographs would become evidence. Furthermore, I suggest that photographs have shaped public understandings of and confrontations with the history of the Nazi occupation and the Vichy Regime since the 1940s. As evidence in the press, exhibitions, legal trials, and photo books, photographs have proven critical to how French society remembers the so-called dark years. Each chapter considers photographers' experiences alongside the material history of their photographs over time. I examine the stories of a diverse range of photographers, including those working for German propaganda like André Zucca to resisters such as the Polish-Jewish photographer Julia Pirotte. I begin with the fall of France and map how the activities of photographers evolved over the course of the Occupation and after the Liberation. I highlight how the particularities of their experiences depended on factors including location, motivation, and identity. I also include a chapter about Jewish photographers that considers how and why they chose to photograph both occupied life and Vichy politics for French authorities. The final two chapters turn to the postwar period from the Liberation of Paris to the end of the purges [épuration] in 1949. Looking at postwar exhibitions and state investigations of photographers, I highlight how photography's postwar afterlives as evidence came into tension with its wartime histories.