Journal of Perpetrator Research最新文献

{"title":"On the Multiple Uses of Video Footage among Contemporary Perpetrators","authors":"U. Üngör","doi":"10.21039/jpr.2.2.57","DOIUrl":"https://doi.org/10.21039/jpr.2.2.57","url":null,"abstract":"In early June 2019, I was attending an academic conference at the American University of Paris on the scholarly uses of video testimonies of survivors and eyewitnesses of mass violence. I had prepared a presentation on the use of videos of and by Syrian perpetrators, a topic I have been working on for the past seven years. As I was waiting for my panel, a Syrian friend living in Paris called me, asking to meet urgently. We did so right before my panel. We sat down in the back of a quiet café, and he pulled out his smartphone and urged me to watch a harrowing video on it. The 6 -minute v ideo shows Syrian intelligence agents in military fatigues taking out blindfolded and bound civilians from a white van, marching them to a large, pre-dug pit, lined with car tires at the bottom, and executing them one by one by shooting them with AK-47 automatic rifles. The perpetrators carry out the executions in routine fashion, speaking only to bark orders at the victims (‘get up’, ‘get out’, ‘walk ahead’). One agent is filming, while the other is shooting. The killers are not particularly emotional, but judging from their gleeful facial expressions, they are clearly enjoying the job. At some point, the cameraman turns his smartphone around and smiles into the camera: ‘This one i s for you, boss!’ The f act t hat t he v ideo w as s hocking, e ven for s omeone like me, used to violent footage emerging from Syria, was remarkable. In addition, watching the clip while attending a conference on video testimonies of mass violence was darkly coincidental. Many questions can and must be asked about this footage. Why did the perpetrators create this footage? What meanings did they attach to the filming? Did the filming affect the violence inflicted in any way, and if so, how? What is this footage’s provenance? And how should researchers and scholars approach this type of footage? These and other questions are important beacons in the new intellectual landscape studying videos and perpetration and should therefore guide future research on the topic. Since the turn of the millennium, the rise and widespread availability of digital technology has had a profound impact on contemporary","PeriodicalId":152877,"journal":{"name":"Journal of Perpetrator Research","volume":"21 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115610033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Viewing Violence in the British Empire: Images of Atrocity from the Battle of Omdurman, 1898","authors":"M. Gordon","doi":"10.21039/JPR.2.2.10","DOIUrl":"https://doi.org/10.21039/JPR.2.2.10","url":null,"abstract":"This article explores a range of photographs taken in the aftermath of the Battle of Omdurman on 2 September 1898, the final and decisive battle of the Anglo-Egyptian Reconquest of the Sudan (1896–98). This campaign was particularly controversial for the methods that were used against the Mahdia, which included the massacring of the enemy wounded and those trying to surrender. The photographs under examination are relevant to considerations of the ensuing controversies of the campaign in which Kitchener was obliged to write directly to Queen Victoria to explain his actions, notably in relation to the bombing of the Mahdi’s tomb and the treatment of his remains. As historians have previously noted, the events in Omdurman constituted a massacre rather than a battle, and areas of dispute include whether Emirs were specifically targeted for destruction in the campaign. The photographs in question contribute to this debate. This article addresses the photographs in the wider context of violence throughout the British Empire and in the context of other images of British violence. That such photographs are not commonly viewed and discussed speaks to wider issues regarding popular perceptions of the ‘benevolent’ British Empire, particularly in comparison to its European counterparts.","PeriodicalId":152877,"journal":{"name":"Journal of Perpetrator Research","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125154830","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Accused War Criminals qua Perpetrators: On the Visual Signification of Criminal Guilt","authors":"Katarina Ristić","doi":"10.21039/jpr.2.2.42","DOIUrl":"https://doi.org/10.21039/jpr.2.2.42","url":null,"abstract":"This article examines media representations of two high-ranking defendants from Serbia indicted by the International Criminal Tribunal for the former Yugoslavia (ICTY) for war crimes in Croatia and Bosnia and Herzegovina. By drawing on a social semiotic multimodal analysis and by distinguishing between four types of perpetrator images (‘the politician’, ‘the strategist’, ‘the combatant’, and ‘the executioner’), the article provides a detailed analysis of the way in which visual material from the courtroom and from the war is used in television news broadcasts in order to ascribe – or not to ascribe – criminal guilt to the accused. Considering the specific culture of denial in Serbia, persistent despite of dozens of war crimes trials conducted at the ICTY and in domestic courts, the article further examines the use of visual materials in the defendant-centered national discourse and the victim-centered transnational discourse. The article argues that the use of visuals as exemplified in the victim-centered discourse is necessary albeit not sufficient for triggering the process of dealing with the past.","PeriodicalId":152877,"journal":{"name":"Journal of Perpetrator Research","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127960152","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Double Exposures: An Introduction","authors":"S. Knittel, Stéphanie Benzaquen-Gautier","doi":"10.21039/jpr.2.2.55","DOIUrl":"https://doi.org/10.21039/jpr.2.2.55","url":null,"abstract":"","PeriodicalId":152877,"journal":{"name":"Journal of Perpetrator Research","volume":"1993 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125539587","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Framing the Perpetrators: Lee Miller's Photography of the Liberation of Dachau","authors":"P. Lowe","doi":"10.21039/jpr.2.2.53","DOIUrl":"https://doi.org/10.21039/jpr.2.2.53","url":null,"abstract":"","PeriodicalId":152877,"journal":{"name":"Journal of Perpetrator Research","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134334430","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Conversation with Jojakim Cortis and Adrian Sonderegger","authors":"Stéphanie Benzaquen-Gautier","doi":"10.21039/jpr.2.2.52","DOIUrl":"https://doi.org/10.21039/jpr.2.2.52","url":null,"abstract":"Conversation with artists Jojakim Cortis and Adrian Sonderegger about their re-take of the 'Hooded Man' (exhibition 'Double Take', Berlin, 2019)","PeriodicalId":152877,"journal":{"name":"Journal of Perpetrator Research","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128242176","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Double 'Double Take'","authors":"Kobi Kabalek, Z. Dziuban","doi":"10.21039/jpr.2.2.50","DOIUrl":"https://doi.org/10.21039/jpr.2.2.50","url":null,"abstract":"Where does a picture, a visual depiction of an act of violence, locate us, the observers? Whose perspective do we adopt and/or perform, when we are confronted with an image of the tormented body, the object of pain and suffering of a vulnerable victim, with or without the presence of the perpetrators? In what follows, we start with discussing the propensity to adopt certain positionalities in facing these questions, and their analytic and ethical implications, to suggest a reading that could unsettle this familiar repertoire – a double ‘double take’. The insights of Carolyn Dean in discussing Daniel J. Goldhagen’s book Hitler’s Willing Executioners: Ordinary Germans and the Holocaust (1996) seem relevant here, despite of the different medium of expression they address.1 In reviewing the book’s many critics, Dean points to Goldhagen’s attempt to uncover the brutality of the perpetrators by providing extensive and detailed descriptions of their violence against Jews, which ‘transforms sadistic and voyeuristic impulses into a virtuous quest for truth’. But, at the same time, this voyeuristic logic ‘also identifies the reader with the perpetrators, contaminating any pure identification with victims’2 – whatever ‘pureness’ is to mean in this context. In other words, the moral indignation that propels the historian’s wish to expose the criminals’ motivations by focusing on a minute portrayal of their crimes, so goes the argument, ends up replicating both victims’ and perpetrators’ perspectives and experiences: ‘The reader is thereby identified both with the perpetrators’ shameless, objectifying, morally numb gaze and with the moral outrage proper to witnessing atrocities against innocents.’3 Dean sees the emerging conundrum as going beyond the problematic features of Goldhagen’s or any other specific historical representation, thus pointing to an","PeriodicalId":152877,"journal":{"name":"Journal of Perpetrator Research","volume":"93 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116265741","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Six ‘Shots’ in Dallas: ‘Framing’ the Perpetrator of the Kennedy Assassination through the Zapruder Film, 1963-2013","authors":"Richard A. Reiman","doi":"10.21039/jpr.2.2.39","DOIUrl":"https://doi.org/10.21039/jpr.2.2.39","url":null,"abstract":"When three shots were fired at the John F. Kennedy motorcade in Dallas on 22 November 1963, three important photographic ‘shots’ were also taken of the scene. These images by amateur filmmaker Abraham Zapruder were seen by Americans as a kind of Rosetta stone for deciphering the otherwise discordant ‘language’ of the assassination and as a key to identifying the perpetrator(s). The Zapruder film was to yield two diametrically opposing interpretations – conspiracy or no conspiracy – depending largely on the agendas of the viewers and their willingness or unwillingness to contextualize their interpretations with other evidence. While the Zapruder frames have turned out to tell us nothing about the actual perpetrator(s) of this particular crime, the way they are remembered tells us much about the ideal political assassin of the American imagination. Tracing the different ways in which the Zapruder shots were interpreted since the 1960s and circulated across a variety of media, institutional settings, and contexts of display, this article discusses what these changes mean for the cultural memory of the Kennedy assassination in particular and, more generally, what these changes tell us about the evolving perception and definition of the political ‘perpetrator’ in American society. Furthermore, the article explores the relation between visual sources (and their changing status from documentary to evidentiary to iconic) and political and historical interpretations of the act of perpetration.","PeriodicalId":152877,"journal":{"name":"Journal of Perpetrator Research","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133748735","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Roundtable 'Double Exposures, Double Takes'","authors":"Stéphanie Benzaquen-Gautier","doi":"10.21039/jpr.2.2.43","DOIUrl":"https://doi.org/10.21039/jpr.2.2.43","url":null,"abstract":"This roundtable discusses ‘perpetrator photography’, or rather the relation between the two terms, in a range of contexts. As a springboard for discussion, the participants (Rabiaâ Benlahbib, Wulandani Dirgantoro, Kobi Kabalek, Zuzanna Dziuban, Lovro Kralj and Tjebbe van Tijen), were sent a picture of one of the promotional posters for Swiss artists Jojakim Cortis and Adrian Sonderegger’s recent exhibition Double Take at C/O Amerika Haus in Berlin (16 March–1 June 2019).2 Cortis and Sonderegger worked for several years on the project Icons, a series of faithfully reconstructed world-famous images of dramatic historical events (such as the 1937 Hindenburg disaster and the 9/11 terror attack on the Twin Towers), through detailed three-dimensional dioramas. The dioramas are photographed together with the artists’ tools and materials such as cardboard, plaster casts, glue, cotton wool and sand. Last spring, I passed C/O Amerika Haus daily on my way to work, and every time I was struck by this poster that showed a restaging or reframing of the ‘Hooded Man’, a photo taken by Military Police Sergeant Ivan Frederick at Abu Ghraib. There is a vast body of images documenting the Iraq War, many of which come from ‘embedded journalism’ (as we now call the longtime interaction of army and media). Yet, for cultural theorist Nicholas Mirzoeff, ‘what [is] remarkable about this mass in retrospect [is] the lack of any truly remarkable images’.3 In this line of reasoning, not even the videos of the staged toppling of the Saddam Hussein statue in Firdos Square (2003) and the fallen dictator’s execution (2006) stand out, since they are just ‘war","PeriodicalId":152877,"journal":{"name":"Journal of Perpetrator Research","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117218689","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Double Weave: Perpetrator Images in Conversation","authors":"W. Dirgantoro","doi":"10.21039/jpr.2.2.44","DOIUrl":"https://doi.org/10.21039/jpr.2.2.44","url":null,"abstract":"","PeriodicalId":152877,"journal":{"name":"Journal of Perpetrator Research","volume":"106 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121366557","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}