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Marta Zarzycka - Gendered Tropes in War Photography: Mothers, Mourners, Soldiers

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Gendered Tropes in War Photography: Mothers, Mourners, Soldiers: summary, description and annotation

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Photographic stills of women, appearing in both press coverage and relief campaigns, have long been central to the documentation of war and civil conflict. Images of non-Western women, in particular, regularly function as symbols of the misery and hopelessness of the oppressed. Featured on the front pages of newspapers and in NGO reports, they inform public understandings of war and peace, victims and perpetrators, but within a discourse that often obscures social and political subjectivities.

Uniquely, this book deconstructs in a systematic, gender-sensitive way the repetitive circulation of certain images of war, conflict and state violence, in order to scrutinize the role of photographic tropes in the globalized visual sphere. Zarzycka builds on feminist theories of representations of war to explore how the concepts of femininity and war secure each others intelligibility in photographic practices. This book examines the complex connections between photographic tropes and the individuals and communities they represent, in order to rethink the medium of photography as a discursive and political practice.

This book interrogates both the structure and transmission of contemporary encounters with war, violence, and conflict. It will appeal to advanced students and scholars of gender studies, visual studies, media studies, photography theory, cultural anthropology, cultural studies, and trauma and memory studies.

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Marta Zarzycka
Gendered Tropes in War Photography: Mothers, Mourners, Soldiers

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Gendered Tropes in War Photography makes crucial contributions to our thinking - photo 1
Gendered Tropes in War Photography makes crucial contributions to our thinking about the changing functions of the photographic image in an era of global shareability. Cataloguing and then nuancing the simplifying logics of the always-gendered tropes at the heart of the representation of combat, Zarzycka models feminist reading practices that can sustain, reanimate or reframe the to-be-expected representations of women caught in conflict zones. Attending closely to the productions of photo-journalism, NGOs, and artists, Zarzycka establishes that while most iconic photos leave out cues of causality, responsibility, and impact, a political capacity for contemporary war photography emerges through practices of looking, invoked through affect and its impact, that might lead to care, social responsibility, and the civil contract of citizenship.
Alexandra Juhasz, Chair of the Fim Department, Brooklyn College, CUNY
Mourning women, women protesters, the non-Western girl, the female corpse, the refugee woman, women soldiersafter reading Marta Zarzyckas incisive analysis of these gender tropes, you will never see war photographyor indeed the worldin the same way again. Especially valuable is her use of affect theory for feminist critique of emotional responses such as empathy, mourning, and shame. Picking up where Susan Sontag left off, Zarzycka makes an ambitious and powerful appeal for an ethical spectatorship that can reframe the deployment of gender for documentary purposes.
Ann Cvetkovich is Ellen Clayton Garwood Centennial Professor of English and Professor of Womens and Gender Studies at the University of Texas at Austin, USA
Gendered Tropes in War Photography
Photographic stills of women, appearing in both press coverage and relief campaigns, have long been central to the documentation of war and civil conflict. Images of non-Western women, in particular, regularly function as symbols of the misery and hopelessness of the oppressed. Featured on the front pages of newspapers and in NGO reports, they inform public understandings of war and peace, victims and perpetrators, but within a discourse that often obscures social and political subjectivities.
Uniquely, this book deconstructsin a systematic, gender-sensitive waythe repetitive circulation of certain images of war, conflict and state violence, in order to scrutinize the role of photographic tropes in the globalized visual sphere. Zarzycka builds on feminist theories of representations of war to explore how the concepts of femininity and war secure each others intelligibility in photographic practices. This book examines the complex connections between photographic tropes and the individuals and communities they represent, in order to rethink the medium of photography as a discursive and political practice.
This book interrogates both the structure and transmission of contemporary encounters with war, violence, and conflict. It will appeal to advanced students and scholars of gender studies, visual studies, media studies, photography theory, cultural anthropology, cultural studies, and trauma and memory studies.
Marta Zarzycka is Assistant Professor in the Gender Studies Department at the Institute of Media and Culture, Utrecht University, the Netherlands.
Routledge Advances in Feminist Studies and Intersectionality
For a full list of titles in this series, please visit www.routledge.com
Core editorial group: Dr. Kathy Davis (Institute for History and Culture, Utrecht, The Netherlands), Professor Jeff Hearn (managing editor; rebro University, Sweden; Hanken School of Economics, Finland; University of Huddersfield, UK), Professor Anna G. Jnasdttir (rebro University, Sweden), Professor Nina Lykke (managing editor; Linkping University, Sweden), Professor Elbieta H. Oleksy (University of d, Poland), Dr. Andrea Pet (Central European University, Hungary), Professor Ann Phoenix (Institute of Education, University of London, UK), and Professor Chandra Talpade Mohanty (Syracuse University, USA).
Routledge Advances in Feminist Studies and Intersectionality is committed to the development of new feminist and profeminist perspectives on changing gender relations, with special attention to:
  • Intersections between gender and power differentials based on age, class, dis/abilities, ethnicity, nationality, racialisation, sexuality, violence, and other social divisions.
  • Intersections of societal dimensions and processes of continuity and change: Culture, economy, generativity, polity, sexuality, science and technology;
  • Embodiment: Intersections of discourse and materiality, and of sex and gender.
  • Transdisciplinarity: Intersections of humanities, social sciences, medical, technical and natural sciences.
  • Intersections of different branches of feminist theorizing, including: Historical materialist feminisms, postcolonial and anti-racist feminisms, radical feminisms, sexual difference feminisms, queerfeminisms, cyberfeminisms, posthuman feminisms, critical studies on men and masculinities.
  • A critical analysis of the travelling of ideas, theories and concepts.
  • A politics of location, reflexivity and transnational contextualising that reflects the basis of the Series framed within European diversity and transnational power relations.
Gendered Tropes in War Photography
Mothers, Mourners, Soldiers
Marta Zarzycka
First published 2017 by Routledge 711 Third Avenue New York NY 10017 and by - photo 2
First published 2017
by Routledge
711 Third Avenue, New York, NY 10017
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
2017 Taylor & Francis
The right of Marta Zarzycka to be identified as author of this work has been asserted by her in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.
Library of Congress Cataloging-in-Publication Data
Names: Zarzycka, Marta, author.
Title: Gendered tropes in war photography : mothers, mourners,
soldiers / Marta Zarzycka.
Description: New York : Routledge, 2016. | Series: Routledge
advances in feminist studies and intersectionality
Identifiers: LCCN 2016016768 | ISBN 9781138815360 (hardback) |
ISBN 9781315746746 (e-book)
Subjects: LCSH: War photography. | Women in war.
Classification: LCC TR820.6 .Z37 2016 | DDC 778.9/935502dc23
LC record available at https://lccn.loc.gov/2016016768
ISBN: 978-1-138-81536-0 (hbk)
ISBN: 978-1-315-74674-6 (ebk)
Typeset in Times New Roman
by Apex CoVantage, LLC
For Luka Verheul
Contents
I enjoyed the support of a small community as I wrote this book. Making lists of institutional and personal debts and affective affiliations, I came to realize how much these categories overlap: colleagues become friends, mentors become colleagues, once-loved ones share institutional connections. Let me simply give the names of people without whom this volume would not be possible, people who offered comments on the text, encouragement, institutional support, pragmatic advice on the publishing process, relief from the daily tedium of writing, and/or simply gave love: William, Luka, and Mia May Verheul, Ewa and Andrzej Zarzyccy, Sharon Stewart, Luisa Gandolfo, Iris van der Tuin, Aneta Wiewirowska, Kyla Schuller, Ocean Christopherson, David Bate, Stephen Amico, Ewa Staczyk, Tineke and Kees Verheul, Kitty Zijlmans, Rosi Braidotti, Rosemarie Buikema, Ann Rigney, Sandra Ponzanesi, Jon Mogul, Dubravka Zarkov, Julie Crawford, Nina Lykke, Petry Kievit, Domitilla Olivieri, Alanna Thain, Tanya Sheehan, Stuart Allan, Amanda Lagerkvist, Flora Lysen, Frank Kessler, Frans Ruiter, Alexandra Juhasz, Trude Oorschot, Liesbet Cilek, Max Novick, Andrea Noble, Griselda Pollock, Amade Mcharek, Joanna Regulska, Ton Robben, Erinna Duganne, Bettina Papenburg, and Babs Boter.
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