Cruising Europe in World War II: epistemological challenges of German vernacular trophy photography : [grievous images : working with photographs of pain and defeat]
The Nazi regime outfitted the Wehrmacht with the best photographic technology and its soldiers were far better equipped than their allies or nemeses. More than ten per cent of the eighteen million German combatants possessed a fast-shutter 35-mm camera. German soldier-photographers documented their...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Artikel |
| Sprache: | English |
| Veröffentlicht: |
2024
|
| Schlagworte: | |
| Zusammenfassung: | The Nazi regime outfitted the Wehrmacht with the best photographic technology and its soldiers were far better equipped than their allies or nemeses. More than ten per cent of the eighteen million German combatants possessed a fast-shutter 35-mm camera. German soldier-photographers documented their wartime activities extensively, in turn leaving behind a gigantic, private and largely underexplored archive that poses multiple epistemological and ethical challenges. Military historians and Holocaust scholars approach soldierly photographs primarily as sources of information, including proof of crimes. This article shifts these lenses and argues that reading them as visual images, and not solely as historical sources and circulating artefacts, reveals a medium that equally affects its practitioners as well as the observers. Drawing upon public archives and private collections, I focus on highly performative images of victory and conquest over enemy countries and peoples and conceptualise them as ‘trophy photographs’. I examine recurrent motifs within this genre, in particular sexual encounters with enemy women and photographs of male bonding, which arguably constitute the most prevalent images snapped by soldier-photographers who ‘cruised’ Nazi-occupied Europe. Borrowing from Queer Studies, the concept of cruising allows me to probe soldiers’ mobility in semipublic spaces and also acknowledge the voyeuristic and visually alluring quality of their photographs. Seductive, exciting, these trophy photographs lure in their audience(s) with sexually charged, often (homo)erotic overtones. In turn, these images provoke diverse ways of seeing and interpreting their content: how can we best frame the soldier-photographer’s gaze and capture the polysemic quality of the images, especially when dealing with violence, racism, sexism and/or homoeroticism? [...] |
| Beschreibung: | Illustrationen |
| ISSN: | 0308-7298 |
Internformat
MARC
| LEADER | 00000naa a2200000 c 4500 | ||
|---|---|---|---|
| 001 | BV050159400 | ||
| 003 | DE-604 | ||
| 005 | 20250221 | ||
| 007 | t| | ||
| 008 | 250207s2024 xx a||| |||| 00||| eng d | ||
| 035 | |a (OCoLC)1498792559 | ||
| 035 | |a (DE-599)BVBBV050159400 | ||
| 040 | |a DE-604 |b ger |e rda | ||
| 041 | 0 | |a eng | |
| 049 | |a DE-255 |a DE-210 | ||
| 100 | 1 | |a Mailänder, Elissa |d 1973- |e Verfasser |0 (DE-588)139537686 |4 aut | |
| 245 | 1 | 0 | |a Cruising Europe in World War II |b epistemological challenges of German vernacular trophy photography : [grievous images : working with photographs of pain and defeat] |c Elissa Mailänder |
| 264 | 1 | |c 2024 | |
| 300 | |b Illustrationen | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 520 | 3 | |a The Nazi regime outfitted the Wehrmacht with the best photographic technology and its soldiers were far better equipped than their allies or nemeses. More than ten per cent of the eighteen million German combatants possessed a fast-shutter 35-mm camera. German soldier-photographers documented their wartime activities extensively, in turn leaving behind a gigantic, private and largely underexplored archive that poses multiple epistemological and ethical challenges. Military historians and Holocaust scholars approach soldierly photographs primarily as sources of information, including proof of crimes. This article shifts these lenses and argues that reading them as visual images, and not solely as historical sources and circulating artefacts, reveals a medium that equally affects its practitioners as well as the observers. Drawing upon public archives and private collections, I focus on highly performative images of victory and conquest over enemy countries and peoples and conceptualise them as ‘trophy photographs’. I examine recurrent motifs within this genre, in particular sexual encounters with enemy women and photographs of male bonding, which arguably constitute the most prevalent images snapped by soldier-photographers who ‘cruised’ Nazi-occupied Europe. Borrowing from Queer Studies, the concept of cruising allows me to probe soldiers’ mobility in semipublic spaces and also acknowledge the voyeuristic and visually alluring quality of their photographs. Seductive, exciting, these trophy photographs lure in their audience(s) with sexually charged, often (homo)erotic overtones. In turn, these images provoke diverse ways of seeing and interpreting their content: how can we best frame the soldier-photographer’s gaze and capture the polysemic quality of the images, especially when dealing with violence, racism, sexism and/or homoeroticism? [...] | |
| 610 | 2 | 7 | |a Deutsches Reich |b Wehrmacht |0 (DE-588)26159-2 |2 gnd |9 rswk-swf |
| 648 | 7 | |a Geschichte 1939-1945 |2 gnd |9 rswk-swf | |
| 650 | 0 | 7 | |a Kriegsverbrechen |g Motiv |0 (DE-588)1049864638 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Amateurfotografie |0 (DE-588)4385329-8 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Trophäe |g Siegeszeichen |0 (DE-588)4744392-3 |2 gnd |9 rswk-swf |
| 689 | 0 | 0 | |a Deutsches Reich |b Wehrmacht |0 (DE-588)26159-2 |D b |
| 689 | 0 | 1 | |a Amateurfotografie |0 (DE-588)4385329-8 |D s |
| 689 | 0 | 2 | |a Trophäe |g Siegeszeichen |0 (DE-588)4744392-3 |D s |
| 689 | 0 | 3 | |a Kriegsverbrechen |g Motiv |0 (DE-588)1049864638 |D s |
| 689 | 0 | 4 | |a Geschichte 1939-1945 |A z |
| 689 | 0 | |5 DE-604 | |
| 773 | 1 | 8 | |g volume:47 |g number:4 |g year:2023 |g month:11 |g pages:389-410 |
| 773 | 0 | 8 | |t History of photography |d Abingdon, 2024 |g Volume 47, number 4 (November, 2023), Seite 389-410 |w (DE-604)BV002672782 |x 0308-7298 |o (DE-600)199333-1 |
| 940 | 1 | |n DHB | |
| 940 | 1 | |q DHB_DM | |
| 940 | 1 | |q BSB_NED_20250216 | |
| 941 | |b 47 |h 4 |j 2023 |m 11 |s 389-410 | ||
| 942 | 1 | 1 | |c 355.009 |e 22/bsb |f 09044 |g 43 |
| 943 | 1 | |a oai:aleph.bib-bvb.de:BVB01-035495564 | |
Datensatz im Suchindex
| _version_ | 1827141358478950401 |
|---|---|
| adam_text | |
| any_adam_object | |
| article_link | (DE-604)BV002672782 |
| author | Mailänder, Elissa 1973- |
| author_GND | (DE-588)139537686 |
| author_facet | Mailänder, Elissa 1973- |
| author_role | aut |
| author_sort | Mailänder, Elissa 1973- |
| author_variant | e m em |
| building | Verbundindex |
| bvnumber | BV050159400 |
| ctrlnum | (OCoLC)1498792559 (DE-599)BVBBV050159400 |
| era | Geschichte 1939-1945 gnd |
| era_facet | Geschichte 1939-1945 |
| format | Article |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>00000naa a2200000 c 4500</leader><controlfield tag="001">BV050159400</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20250221</controlfield><controlfield tag="007">t|</controlfield><controlfield tag="008">250207s2024 xx a||| |||| 00||| eng d</controlfield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1498792559</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV050159400</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-255</subfield><subfield code="a">DE-210</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Mailänder, Elissa</subfield><subfield code="d">1973-</subfield><subfield code="e">Verfasser</subfield><subfield code="0">(DE-588)139537686</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Cruising Europe in World War II</subfield><subfield code="b">epistemological challenges of German vernacular trophy photography : [grievous images : working with photographs of pain and defeat]</subfield><subfield code="c">Elissa Mailänder</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="c">2024</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="b">Illustrationen</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="520" ind1="3" ind2=" "><subfield code="a">The Nazi regime outfitted the Wehrmacht with the best photographic technology and its soldiers were far better equipped than their allies or nemeses. More than ten per cent of the eighteen million German combatants possessed a fast-shutter 35-mm camera. German soldier-photographers documented their wartime activities extensively, in turn leaving behind a gigantic, private and largely underexplored archive that poses multiple epistemological and ethical challenges. Military historians and Holocaust scholars approach soldierly photographs primarily as sources of information, including proof of crimes. This article shifts these lenses and argues that reading them as visual images, and not solely as historical sources and circulating artefacts, reveals a medium that equally affects its practitioners as well as the observers. Drawing upon public archives and private collections, I focus on highly performative images of victory and conquest over enemy countries and peoples and conceptualise them as ‘trophy photographs’. I examine recurrent motifs within this genre, in particular sexual encounters with enemy women and photographs of male bonding, which arguably constitute the most prevalent images snapped by soldier-photographers who ‘cruised’ Nazi-occupied Europe. Borrowing from Queer Studies, the concept of cruising allows me to probe soldiers’ mobility in semipublic spaces and also acknowledge the voyeuristic and visually alluring quality of their photographs. Seductive, exciting, these trophy photographs lure in their audience(s) with sexually charged, often (homo)erotic overtones. In turn, these images provoke diverse ways of seeing and interpreting their content: how can we best frame the soldier-photographer’s gaze and capture the polysemic quality of the images, especially when dealing with violence, racism, sexism and/or homoeroticism? [...]</subfield></datafield><datafield tag="610" ind1="2" ind2="7"><subfield code="a">Deutsches Reich</subfield><subfield code="b">Wehrmacht</subfield><subfield code="0">(DE-588)26159-2</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="648" ind1=" " ind2="7"><subfield code="a">Geschichte 1939-1945</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Kriegsverbrechen</subfield><subfield code="g">Motiv</subfield><subfield code="0">(DE-588)1049864638</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Amateurfotografie</subfield><subfield code="0">(DE-588)4385329-8</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Trophäe</subfield><subfield code="g">Siegeszeichen</subfield><subfield code="0">(DE-588)4744392-3</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Deutsches Reich</subfield><subfield code="b">Wehrmacht</subfield><subfield code="0">(DE-588)26159-2</subfield><subfield code="D">b</subfield></datafield><datafield tag="689" ind1="0" ind2="1"><subfield code="a">Amateurfotografie</subfield><subfield code="0">(DE-588)4385329-8</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="2"><subfield code="a">Trophäe</subfield><subfield code="g">Siegeszeichen</subfield><subfield code="0">(DE-588)4744392-3</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="3"><subfield code="a">Kriegsverbrechen</subfield><subfield code="g">Motiv</subfield><subfield code="0">(DE-588)1049864638</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="4"><subfield code="a">Geschichte 1939-1945</subfield><subfield code="A">z</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="773" ind1="1" ind2="8"><subfield code="g">volume:47</subfield><subfield code="g">number:4</subfield><subfield code="g">year:2023</subfield><subfield code="g">month:11</subfield><subfield code="g">pages:389-410</subfield></datafield><datafield tag="773" ind1="0" ind2="8"><subfield code="t">History of photography</subfield><subfield code="d">Abingdon, 2024</subfield><subfield code="g">Volume 47, number 4 (November, 2023), Seite 389-410</subfield><subfield code="w">(DE-604)BV002672782</subfield><subfield code="x">0308-7298</subfield><subfield code="o">(DE-600)199333-1</subfield></datafield><datafield tag="940" ind1="1" ind2=" "><subfield code="n">DHB</subfield></datafield><datafield tag="940" ind1="1" ind2=" "><subfield code="q">DHB_DM</subfield></datafield><datafield tag="940" ind1="1" ind2=" "><subfield code="q">BSB_NED_20250216</subfield></datafield><datafield tag="941" ind1=" " ind2=" "><subfield code="b">47</subfield><subfield code="h">4</subfield><subfield code="j">2023</subfield><subfield code="m">11</subfield><subfield code="s">389-410</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">355.009</subfield><subfield code="e">22/bsb</subfield><subfield code="f">09044</subfield><subfield code="g">43</subfield></datafield><datafield tag="943" ind1="1" ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-035495564</subfield></datafield></record></collection> |
| id | DE-604.BV050159400 |
| illustrated | Illustrated |
| indexdate | 2025-03-20T19:09:45Z |
| institution | BVB |
| issn | 0308-7298 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-035495564 |
| oclc_num | 1498792559 |
| open_access_boolean | |
| owner | DE-255 DE-210 |
| owner_facet | DE-255 DE-210 |
| physical | Illustrationen |
| psigel | DHB_DM BSB_NED_20250216 |
| publishDate | 2024 |
| publishDateSearch | 2024 |
| publishDateSort | 2024 |
| record_format | marc |
| spelling | Mailänder, Elissa 1973- Verfasser (DE-588)139537686 aut Cruising Europe in World War II epistemological challenges of German vernacular trophy photography : [grievous images : working with photographs of pain and defeat] Elissa Mailänder 2024 Illustrationen txt rdacontent n rdamedia nc rdacarrier The Nazi regime outfitted the Wehrmacht with the best photographic technology and its soldiers were far better equipped than their allies or nemeses. More than ten per cent of the eighteen million German combatants possessed a fast-shutter 35-mm camera. German soldier-photographers documented their wartime activities extensively, in turn leaving behind a gigantic, private and largely underexplored archive that poses multiple epistemological and ethical challenges. Military historians and Holocaust scholars approach soldierly photographs primarily as sources of information, including proof of crimes. This article shifts these lenses and argues that reading them as visual images, and not solely as historical sources and circulating artefacts, reveals a medium that equally affects its practitioners as well as the observers. Drawing upon public archives and private collections, I focus on highly performative images of victory and conquest over enemy countries and peoples and conceptualise them as ‘trophy photographs’. I examine recurrent motifs within this genre, in particular sexual encounters with enemy women and photographs of male bonding, which arguably constitute the most prevalent images snapped by soldier-photographers who ‘cruised’ Nazi-occupied Europe. Borrowing from Queer Studies, the concept of cruising allows me to probe soldiers’ mobility in semipublic spaces and also acknowledge the voyeuristic and visually alluring quality of their photographs. Seductive, exciting, these trophy photographs lure in their audience(s) with sexually charged, often (homo)erotic overtones. In turn, these images provoke diverse ways of seeing and interpreting their content: how can we best frame the soldier-photographer’s gaze and capture the polysemic quality of the images, especially when dealing with violence, racism, sexism and/or homoeroticism? [...] Deutsches Reich Wehrmacht (DE-588)26159-2 gnd rswk-swf Geschichte 1939-1945 gnd rswk-swf Kriegsverbrechen Motiv (DE-588)1049864638 gnd rswk-swf Amateurfotografie (DE-588)4385329-8 gnd rswk-swf Trophäe Siegeszeichen (DE-588)4744392-3 gnd rswk-swf Deutsches Reich Wehrmacht (DE-588)26159-2 b Amateurfotografie (DE-588)4385329-8 s Trophäe Siegeszeichen (DE-588)4744392-3 s Kriegsverbrechen Motiv (DE-588)1049864638 s Geschichte 1939-1945 z DE-604 volume:47 number:4 year:2023 month:11 pages:389-410 History of photography Abingdon, 2024 Volume 47, number 4 (November, 2023), Seite 389-410 (DE-604)BV002672782 0308-7298 (DE-600)199333-1 |
| spellingShingle | Mailänder, Elissa 1973- Cruising Europe in World War II epistemological challenges of German vernacular trophy photography : [grievous images : working with photographs of pain and defeat] Deutsches Reich Wehrmacht (DE-588)26159-2 gnd Kriegsverbrechen Motiv (DE-588)1049864638 gnd Amateurfotografie (DE-588)4385329-8 gnd Trophäe Siegeszeichen (DE-588)4744392-3 gnd |
| subject_GND | (DE-588)26159-2 (DE-588)1049864638 (DE-588)4385329-8 (DE-588)4744392-3 |
| title | Cruising Europe in World War II epistemological challenges of German vernacular trophy photography : [grievous images : working with photographs of pain and defeat] |
| title_auth | Cruising Europe in World War II epistemological challenges of German vernacular trophy photography : [grievous images : working with photographs of pain and defeat] |
| title_exact_search | Cruising Europe in World War II epistemological challenges of German vernacular trophy photography : [grievous images : working with photographs of pain and defeat] |
| title_full | Cruising Europe in World War II epistemological challenges of German vernacular trophy photography : [grievous images : working with photographs of pain and defeat] Elissa Mailänder |
| title_fullStr | Cruising Europe in World War II epistemological challenges of German vernacular trophy photography : [grievous images : working with photographs of pain and defeat] Elissa Mailänder |
| title_full_unstemmed | Cruising Europe in World War II epistemological challenges of German vernacular trophy photography : [grievous images : working with photographs of pain and defeat] Elissa Mailänder |
| title_short | Cruising Europe in World War II |
| title_sort | cruising europe in world war ii epistemological challenges of german vernacular trophy photography grievous images working with photographs of pain and defeat |
| title_sub | epistemological challenges of German vernacular trophy photography : [grievous images : working with photographs of pain and defeat] |
| topic | Deutsches Reich Wehrmacht (DE-588)26159-2 gnd Kriegsverbrechen Motiv (DE-588)1049864638 gnd Amateurfotografie (DE-588)4385329-8 gnd Trophäe Siegeszeichen (DE-588)4744392-3 gnd |
| topic_facet | Deutsches Reich Wehrmacht Kriegsverbrechen Motiv Amateurfotografie Trophäe Siegeszeichen |
| work_keys_str_mv | AT mailanderelissa cruisingeuropeinworldwariiepistemologicalchallengesofgermanvernaculartrophyphotographygrievousimagesworkingwithphotographsofpainanddefeat |