DORA APEL is an associate professor and the W. Hawkins Ferry Endowed Chair in Modern and Contemporary Art History at Wayne State University. She is the author of Memory Effects: The Holocaust and the Art of Secondary Witnessing and Imagery of Lynching: Black Men, White Women, and the Mob (both Rutgers University Press).

"War Culture and the Contest of Images is critical in its analysis of the politics of oppression shown through different perspectives. It will be helpful to filmmakers, modern and contemporary art historians, photojournalists, teachers, and students of visual communication."(International Journal of Communication) "Powerful, thought-provoking, and at times haunting, War Culture and the Context of Images is an unforgettable, original and valuable work."(Journal of Popular Culture) "Looking closely at the work of contemporary global photographers, Apel argues that art photography can powerfully counteract war's official representations and, likewise, create a new kind of public sphere in which war's meanings can be scrutinized…a timely and necessary book."  - Anthony W. Lee (series editor of Defining Moments in American Photography) "Strategically positioned between discussions of journalistic, vernacular images, and works of art, Apel significantly expands the contemporary conversation on the 'war of images.' This is an essential contribution to one of the major issues of our day."- W. J. T. Mitchell (author of Seeing Through Race) "Essential reading for anyone interested in thinking through the transformative potential of image culture today." (RACAR)

• ContentsList of Illustrations AcknowledgementsIntroductionPart I: The Romance of War1 Technologies of War, Media and Dissent in the Post-9/11 Work of Krzysztof Wodiczko2 Historical Reenactment: Romantic Amnesia or Counter-Memory?Part II: The Body of War3 Abu Ghraib, Gender, and the Military4 The Body as Political CorpusPart III: The Landscape of War5 Controlling the Frame: Photojournalism, Digital Technology, and "Modern Warfare"6 Israel/Palestine and the Political ImaginaryConclusion: On Human RightsNotesSelected BibliographyIndex

DORA APEL is an associate professor and the W. Hawkins Ferry Endowed Chair in Modern and Contemporary Art History at Wayne State University. She is the author of Memory Effects: The Holocaust and the Art of Secondary Witnessing and Imagery of Lynching: Black Men, White Women, and the Mob (both Rutgers University Press).

"War Culture and the Contest of Images is critical in its analysis of the politics of oppression shown through different perspectives. It will be helpful to filmmakers, modern and contemporary art historians, photojournalists, teachers, and students of visual communication."(International Journal of Communication) "Powerful, thought-provoking, and at times haunting, War Culture and the Context of Images is an unforgettable, original and valuable work."(Journal of Popular Culture) "Looking closely at the work of contemporary global photographers, Apel argues that art photography can powerfully counteract war's official representations and, likewise, create a new kind of public sphere in which war's meanings can be scrutinized…a timely and necessary book."  - Anthony W. Lee (series editor of Defining Moments in American Photography) "Strategically positioned between discussions of journalistic, vernacular images, and works of art, Apel significantly expands the contemporary conversation on the 'war of images.' This is an essential contribution to one of the major issues of our day."- W. J. T. Mitchell (author of Seeing Through Race) "Essential reading for anyone interested in thinking through the transformative potential of image culture today." (RACAR)

• ContentsList of Illustrations AcknowledgementsIntroductionPart I: The Romance of War1 Technologies of War, Media and Dissent in the Post-9/11 Work of Krzysztof Wodiczko2 Historical Reenactment: Romantic Amnesia or Counter-Memory?Part II: The Body of War3 Abu Ghraib, Gender, and the Military4 The Body as Political CorpusPart III: The Landscape of War5 Controlling the Frame: Photojournalism, Digital Technology, and "Modern Warfare"6 Israel/Palestine and the Political ImaginaryConclusion: On Human RightsNotesSelected BibliographyIndex

DORA APEL is an associate professor and the W. Hawkins Ferry Endowed Chair in Modern and Contemporary Art History at Wayne State University. She is the author of Memory Effects: The Holocaust and the Art of Secondary Witnessing and Imagery of Lynching: Black Men, White Women, and the Mob (both Rutgers University Press).

"War Culture and the Contest of Images is critical in its analysis of the politics of oppression shown through different perspectives. It will be helpful to filmmakers, modern and contemporary art historians, photojournalists, teachers, and students of visual communication."(International Journal of Communication) "Powerful, thought-provoking, and at times haunting, War Culture and the Context of Images is an unforgettable, original and valuable work."(Journal of Popular Culture) "Looking closely at the work of contemporary global photographers, Apel argues that art photography can powerfully counteract war's official representations and, likewise, create a new kind of public sphere in which war's meanings can be scrutinized…a timely and necessary book."  - Anthony W. Lee (series editor of Defining Moments in American Photography) "Strategically positioned between discussions of journalistic, vernacular images, and works of art, Apel significantly expands the contemporary conversation on the 'war of images.' This is an essential contribution to one of the major issues of our day."- W. J. T. Mitchell (author of Seeing Through Race) "Essential reading for anyone interested in thinking through the transformative potential of image culture today." (RACAR)

• ContentsList of Illustrations AcknowledgementsIntroductionPart I: The Romance of War1 Technologies of War, Media and Dissent in the Post-9/11 Work of Krzysztof Wodiczko2 Historical Reenactment: Romantic Amnesia or Counter-Memory?Part II: The Body of War3 Abu Ghraib, Gender, and the Military4 The Body as Political CorpusPart III: The Landscape of War5 Controlling the Frame: Photojournalism, Digital Technology, and "Modern Warfare"6 Israel/Palestine and the Political ImaginaryConclusion: On Human RightsNotesSelected BibliographyIndex