History, Memory and Trauma in Photography of the Tondues: Visuality of the Vichy Past through the Silent Image of Women
History, Memory and Trauma in Photography of the Tondues: Visuality of the Vichy Past through the Silent Image of Women
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通都摄影中的历史、记忆和创伤：通过女性沉默的形象展现维希过去
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发表时间：
2005
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通讯作者：
A. Moore
中科院分区：
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作者：
A. Moore
在对现代欧洲历史的大量调查中，人们可以找到“舌人”的标志性视觉表现的例子：在第二次世界大战结束时，德国军队战败期间和之后，法国妇女被定为合作者，在公开耻辱的仪式中被剃掉了头。作为羞辱、大众报复、含蓄的性化但无声的身体暴力的图像，这些照片对学者和非学术观众来说都是引人注目、引人注目和困惑的。在这些照片中，光头的女人常常显得茫然地凝视着，脸上沉默着，要么是震惊，要么是悲伤，要么是拒绝表现出人群所要求的羞耻。但是，尽管档案中有成千上万这样的照片，只有一小部分被反复传播给广泛的学术和公众，主要是通过在现代欧洲调查书、法国占领和解放的通俗史学、法国新闻杂志和教科书的历史揭露，以及最近对战后欧洲报复政治的学术批评中复制。虽然大量的学术机构已经评论了烟灰视觉表现的惊人性质，但烟灰照片作为历史记忆政治文本的地位仍然没有理论化。这篇文章不是基于对这些照片的拍摄和首次传播过程的研究，而是基于它们在战后，特别是最近，在学术和大众作品中对过去的使用。在这些文本中复制，语境化和说明文字的照片经常是
In numerous surveys of modern European history one can find examples of iconic visual representations of the ‘tondues’: French women targeted as collaborators and whose heads were shaven in rituals of public disgrace during and after the defeat of German forces at the end of World War II. As images of humiliation, popular retribution, implicitly sexualised but muted corporeal violence, the tondue photos are striking, arresting and confounding to scholars and non-academic viewers alike. Frequently in these images the shaven-headed women appear to stare blankly, faces silent with shock or with sadness or with a refusal to perform the shame the crowd demands. But while thousands of such photographs exist in archives, only a small number are repeatedly disseminated to a broad academic and general public, predominantly through their reproduction in modern Europe survey books, popular historiography of the French Occupation and Liberation, in historical exposés in French news magazines and textbooks, and in recent academic critiques of the politics of retribution in post-war Europe. While a substantial body of scholarship has remarked upon the striking nature of tondue visual representation, the status of the tondue photographs as texts within the politics of historical memory remains under-theorised. This article is not based on a study of the process by which such photographs were taken and first circulated, but rather on their postwar, especially recent, usage in works of both scholarly and popular representation of the past. The reproduction, contextualisation and captioning of tondue photographs in such texts has frequently been