This book explores how the experience of war and related atrocities tend to be visually expressed and how such articulations and representations are circulated and consumed. Each chapter of this volume examines how an image can contribute to a richer understanding of the experience of war and atrocity and thus they contribute to the burgeoning field of the "criminology of war". Topics include the destruction of war in oppositional cultural forms - comparing the Nazi period with the ISIS destruction of Palmyra - and the visual aesthetics of violence deployed by Jihadi terrorism. The contributors are a multi-disciplinary team drawn mainly from criminology but also sociology, international relations, gender studies, English and the visual arts. This book will advance this field in new directions with refreshing, original work.

In 2008, Waltz with Bashir shocked the world by presenting a bracing story of war in what seemed like the most unlikely of formats—an animated film. Yet as Donna Kornhaber shows in this pioneering new book, the relationship between animation and war is actually as old as film itself. The world’s very first animated movie was made to solicit donations for the Second Boer War, and even Walt Disney sent his earliest creations off to fight on gruesome animated battlefields drawn from his First World War experience. As Kornhaber strikingly demonstrates, the tradition of wartime animation, long ignored by scholars and film buffs alike, is one of the world’s richest archives of wartime memory and witness. Generation after generation, artists have turned to this most fantastical of mediums to capture real-life horrors they can express in no other way. From Chinese animators depicting the Japanese invasion of Shanghai to Bosnian animators portraying the siege of Sarajevo, from African animators documenting ethnic cleansing to South American animators reflecting on torture and civil war, from Vietnam-era protest films to the films of the French Resistance, from firsthand memories of Hiroshima to the haunting work of Holocaust survivors, the animated medium has for more than a century served as a visual repository for some of the darkest chapters in human history. It is a tradition that continues even to this day, in animated shorts made by Russian dissidents decrying the fighting in Ukraine, American soldiers returning from Iraq, or Middle Eastern artists commenting on the Israeli-Palestinian conflict, the Arab Spring, or the ongoing crisis in Yemen. Nightmares in the Dream Sanctuary: War and the Animated Film vividly tells the story of these works and many others, covering the full history of animated film and spanning the entire globe. A rich, serious, and deeply felt work of groundbreaking media history, it is also an emotional testament to the power of art to capture the endurance of the human spirit in the face of atrocity.

A brilliant, clear-eyed consideration of the visual representation of violence in our culture--its ubiquity, meanings, and effects. Considered one of the greatest critics of her generation, Susan Sontag followed up her monumental On Photography with an extended study of human violence, reflecting on a question first posed by Virginia Woolf in Three Guineas: How in your opinion are we to prevent war? "For a long time some people believed that if the horror could be made vivid enough, most people would finally take in the outrageousness, the insanity of war." One of the distinguishing features of modern life is that it supplies countless opportunities for regarding (at a distance, through the medium of photography) horrors taking place throughout the world. But are viewers inured—or incited—to violence by the depiction of cruelty? Is the viewer’s perception of reality eroded by the daily barrage of such images? What does it mean to care about the sufferings of others far away? First published more than twenty years after her now classic book On Photography, which changed how we understand the very condition of being modern, Regarding the Pain of Others challenges our thinking not only about the uses and means of images, but about how war itself is waged (and understood) in our time, the limits of sympathy, and the obligations of conscience.

This book assesses the role aesthetic factors play in shaping what forms of mass violence are viewed as international crimes.

The Nanjing Atrocities: Crimes of War details the events unfolding in China and Japan in the years leading up to World War II in East Asia and the Japanese occupation of the city of Nanjing, China, in 1937. Following Facing History's guiding scope and sequence, and including a foreword by Benjamin Ferencz, a war crimes prosecutor at the Nuremberg Trials, this resource lays a broad framework and contains an in-depth examination of the war crimes known today as the Nanjing Atrocities. This book begins by exploring the impact of imperialism in East Asia during the nineteenth and early twentieth centuries, the rise of nationalism and militarism, and how these developments affected the complexity of nation building efforts in China and Japan. It addresses the brutality of war and the crimes committed in Nanjing through an examination of the choices made by leaders, soldiers, and witnesses. The history is presented through firsthand accounts and perspectives from survivors and foreigners living in Nanjing during the Japanese occupation. When examining the aftermath and legacy of the war in China, readers are asked to consider the importance of justice and memory, issues still relevant today as nations in East Asia continue to wrestle with how to remember, teach, and understand the Nanjing Atrocities. The Nanjing Atrocities: Crimes of War is an invaluable resource for educators and students of history seeking an overview of World War II in East Asia.

What does it mean to be a spectator to war in an era when the boundaries between witnessing and perpetrating violence have become profoundly blurred? Arguing that the contemporary dynamics of military spectatorship took shape in Napoleonic Europe, Watching War explores the status of warfare as a spectacle unfolding before a mass audience. By showing that the battlefield was a virtual phenomenon long before the invention of photography, film, or the Internet, this book proposes that the unique character of modern conflicts has been a product of imaginary as much as material forces. Warfare first became total in the Napoleonic era, when battles became too large and violent to be observed firsthand and could only be grasped in the imagination. Thenceforth, fantasies of what war was or should be proved critical for how wars were fought and experienced. As war's reach came to be limited only by the creativity of the mind's eye, its campaigns gave rise to expectations that could not be fulfilled. As a result, war's modern audiences have often found themselves bored more than enthralled by their encounters with combat. Mieszkowski takes an interdisciplinary approach to this major ethical and political concern of our time, bringing literary and philosophical texts into dialogue with artworks, historical documents, and classics of photojournalism.

Every year, hundreds of thousands of women become victims of sexual violence in conflict zones around the world; in the Democratic Republic of Congo alone, approximately 1,100 rapes are reported each month. This book offers a comprehensive analysis of the causes, consequences and responses to sexual violence in contemporary armed conflict. It explores the function and effect of wartime sexual violence and examines the conditions that make women and girls most vulnerable to these acts both before, during and after conflict. To understand the motivations of the men (and occasionally women) who perpetrate this violence, the book analyzes the role played by systemic and situational factors such as patriarchy and militarized masculinity. Difficult questions of accountability are tackled; in particular, the case of child soldiers, who often suffer a double victimization when forced to commit sexual atrocities. The book concludes by looking at strategies of prevention and protection as well as new programs being set up on the ground to support the rehabilitation of survivors and their communities. Sexual violence in war has long been a taboo subject but, as this book shows, new and courageous steps are at last being taken Ð at both local and international level - to end what has been called the “greatest silence in history”.