Professor Melissa Miles is a photography historian and the Associate Dean, Research at Monash University’s Faculty of Art, Design and Architecture, Australia. Her research explores the interdisciplinary qualities of photography and its movement across the domains of art, law, politics and history. The role of photographs in cross-cultural photographic relations is another key area of research interest. She is author of Pacific Exposures: Photography and the Australia-Japan Relationship (with Robin Gerster, 2018),The Language of Light and Dark: Light and Place in Australian Photography (2015), The Burning Mirror: Photography in an Ambivalent Light (2008), and co-editor of The Culture of Photography in Public Space (with Anne Marsh and Daniel Palmer, 2015).

The central question—addressed in depth—is how one determines the truth of the sociopolitical past and how photography influences that determination... This is a useful, provocative text.

• Acknowledgements1. Introduction: The Photographic Witness2. Photography, Testimony and Presence: Making Visible Argentina’s Disappeared 3. Photography, Time and History: Canada’s Indian Residential Schools 5. Photography and Place: Recovering Indigenous Australian Histories4. Photography and Secondary Witnessing: Truth and Reconciliation in South Africa 6. Photography and Justice: Official and Family Photographies in Cambodia 7. Conclusion ReferencesIndex

Professor Melissa Miles is a photography historian and the Associate Dean, Research at Monash University’s Faculty of Art, Design and Architecture, Australia. Her research explores the interdisciplinary qualities of photography and its movement across the domains of art, law, politics and history. The role of photographs in cross-cultural photographic relations is another key area of research interest. She is author of Pacific Exposures: Photography and the Australia-Japan Relationship (with Robin Gerster, 2018),The Language of Light and Dark: Light and Place in Australian Photography (2015), The Burning Mirror: Photography in an Ambivalent Light (2008), and co-editor of The Culture of Photography in Public Space (with Anne Marsh and Daniel Palmer, 2015).

The central question—addressed in depth—is how one determines the truth of the sociopolitical past and how photography influences that determination... This is a useful, provocative text.

• Acknowledgements1. Introduction: The Photographic Witness2. Photography, Testimony and Presence: Making Visible Argentina’s Disappeared 3. Photography, Time and History: Canada’s Indian Residential Schools 5. Photography and Place: Recovering Indigenous Australian Histories4. Photography and Secondary Witnessing: Truth and Reconciliation in South Africa 6. Photography and Justice: Official and Family Photographies in Cambodia 7. Conclusion ReferencesIndex

Professor Melissa Miles is a photography historian and the Associate Dean, Research at Monash University’s Faculty of Art, Design and Architecture, Australia. Her research explores the interdisciplinary qualities of photography and its movement across the domains of art, law, politics and history. The role of photographs in cross-cultural photographic relations is another key area of research interest. She is author of Pacific Exposures: Photography and the Australia-Japan Relationship (with Robin Gerster, 2018),The Language of Light and Dark: Light and Place in Australian Photography (2015), The Burning Mirror: Photography in an Ambivalent Light (2008), and co-editor of The Culture of Photography in Public Space (with Anne Marsh and Daniel Palmer, 2015).

The central question—addressed in depth—is how one determines the truth of the sociopolitical past and how photography influences that determination... This is a useful, provocative text.

• Acknowledgements1. Introduction: The Photographic Witness2. Photography, Testimony and Presence: Making Visible Argentina’s Disappeared 3. Photography, Time and History: Canada’s Indian Residential Schools 5. Photography and Place: Recovering Indigenous Australian Histories4. Photography and Secondary Witnessing: Truth and Reconciliation in South Africa 6. Photography and Justice: Official and Family Photographies in Cambodia 7. Conclusion ReferencesIndex