Atrocities committed by the Nazis during the Holocaust were photographed more intensely that any before. In the time since the images were taken they have been subjected to a perplexing variety of treatments: variously ignored, suppressed, distorted and above all exploited for propaganda purposes. With the use of many photographs, including some never before seen, this book traces the history of this process and asks whether the images can be true representations of the events they were depicting. Yet their provenance, Janina Struk argues, has been less important that the uses to which a wide range of political interests has put them, from the desperate attempts of the war-time underground to provide hard evidence of the death camps to the memorial museums of Europe, the US and Israel today.

A single photograph--an exceptionally rare "action shot" documenting the horrific murder of a Jewish family--drives a riveting forensic investigation by a gifted Holocaust scholar.

Based on the powerful true story of Auschwitz prisoner Wilhelm Brasse, whose photographs helped to expose the atrocities of the Holocaust. 'Horror in sharp focus... important, because the world must know.' John Lewis-Stempel, Daily Express __________ When Germany invaded Wilhelm Brasse's native Poland in 1939, he was asked to swear allegiance to Hitler and join the Wehrmacht. He refused. He was deported to Auschwitz concentration camp as political prisoner number 3444. A trained portrait photographer, he was ordered by the SS to record the inner workings of the camp. He began by taking identification photographs of prisoners as they entered the camp, went on to capture the criminal medical experiments of Josef Mengele, and also recorded executions. Between 1940 and 1945, Brasse took around 50,000 photographs of the horror around him. He took them because he had no choice. Eventually, Brasse's conscience wouldn't allow him to hide behind his camera. First he risked his life by joining the camp's Resistance movement, faking documents for prisoners, trying to smuggle images to the outside world to reveal what was happening. Then, when Soviet troops finally advanced on the camp to liberate it, Brasse refused SS orders to destroy his photographs. 'Because the world must know,' he said. For readers of The Librarian of Auschwitz and The Boy Who Followed His Father into Auschwitz, this powerful true story of hope and courage lies at the very centre of Holocaust history. __________ 'A remarkable tale of survival against the odds... an enthralling book.' The Sydney Morning Herald 'Brasse has left us with a powerful legacy in images. Because of them we can see the victims of the Holocaust as human and not statistics.' Fergal Keane ***** Anything that helps to remind us of where hate gets us is worth reading. ***** Harrowing but so perfectly told. ***** Life affirming in so many ways.

Most view the relationship of Jews to the Soviet Union through the lens of repression and silence. Focusing on an elite group of two dozen Soviet-Jewish photographers, including Arkady Shaykhet, Alexander Grinberg, Mark Markov-Grinberg, Evgenii Khaldei, Dmitrii Baltermants, and Max Alpert, Through Soviet Jewish Eyes presents a different picture. These artists participated in a social project they believed in and with which they were emotionally and intellectually invested-they were charged by the Stalinist state to tell the visual story of the unprecedented horror we now call the Holocaust. These wartime photographers were the first liberators to bear witness with cameras to Nazi atrocities, three years before Americans arrived at Buchenwald and Dachau. In this passionate work, David Shneer tells their stories and highlights their work through their very own images-he has amassed never-before-published photographs from families, collectors, and private archives. Through Soviet Jewish Eyes helps us understand why so many Jews flocked to Soviet photography; what their lives and work looked like during the rise of Stalinism, during and then after the war; and why Jews were the ones charged with documenting the Soviet experiment and then its near destruction at the hands of the Nazis.

In January 1942, Soviet press photographers came upon a scene like none they had ever documented. That day, they took pictures of the first liberation of a German mass atrocity, where an estimated 7,000 Jews and others were executed at an anti-tank trench near Kerch on the Crimean peninsula. Dmitri Baltermants, a photojournalist working for the Soviet newspaper Izvestiia, took photos that day that would have a long life in shaping the image of Nazi genocide in and against the Soviet Union. Presenting never before seen photographs, Grief: The Biography of a Holocaust Photograph shows how Baltermants used the image of a grieving woman to render this gruesome mass atrocity into a transcendentally human tragedy. David Shneer tells the story of how that one photograph from the series Baltermants took that day in 1942 near Kerch became much more widely known than the others, eventually being titled "Grief." Baltermants turned this shocking wartime atrocity photograph into a Cold War era artistic meditation on the profundity and horror of war that today can be found in Holocaust photo archives as well as in art museums and at art auctions. Although the journalist documented murdered Jews in other pictures he took at Kerch, in "Grief" there are likely no Jews among the dead or the living, save for the possible NKVD soldier securing the site. Nonetheless, Shneer shows that this photograph must be seen as an iconic Holocaust photograph. Unlike images of emaciated camp survivors or barbed wire fences, Shneer argues, the Holocaust by bullets in the Soviet Union make "Grief" a quintessential Soviet image of Nazi genocide.

Over 170 amazing photographs of Jewish life in the Pale of Settlement, from S. An-sky's ethnographic expeditions

Art historian Andrea Liss examines the inherent difficulties and productive possibilities of using photographs to bear witness, initiating a critical dialogue about the ways the post-Auschwitz generation has employed these documents to represent Holocaust memory and history. 12 color photos. 28 bandw photos.

AcknowledgmentsI: Collective Memories, Images, and the Atrocity of War II: Before the Liberation: Journalism, Photography, and the Early Coverage of Atrocity III: Covering Atrocity in Word IV: Covering Atrocity in Image V: Forgetting to Remember: Photography as Ground of Early Atrocity MemoriesVI: Remembering to Remember: Photography as Figure of Contemporary Atrocity Memories VII: Remembering to Forget: Contemporary Scrapbooks of Atrocity Notes Selected Bibliography Index Copyright © Libri GmbH. All rights reserved.

Over the course of five years, award-winning photographer Harry Borden has travelled the globe photographing survivors of the Holocaust. The people featured vary in age, gender and nationality, but are tied together by their experience and survival of one of the darkest moments in human history. Each memorable photograph is accompanied by a handwritten note from the sitter, ranging from poems, to memories, to hopes for the future, creating a strong sense of intimacy between sitter and reader. This intimacy is amplified by the home settings of many of the photographs, along with the photographer's use of available light at each scene. At the end of the book is a section providing additional information about each subject, detailing how and what they survived. Thought-provoking, moving and touching, with a foreword by Man Booker Prize-winning author Howard Jacobson, this book conveys the dignity and humanity of each subject's character. Survivor is a unique and powerful testimony of what it is to live with memories of the Holocaust.

Of one and a half million surviving photographs related to Nazi concentration camps, only four depict the actual process of mass killing perpetrated at the gas chambers. Images in Spite of All reveals that these rare photos of Auschwitz, taken clandestinely by one of the Jewish prisoners forced to help carry out the atrocities there, were made as a potent act of resistance. Available today because they were smuggled out of the camp and into the hands of Polish resistance fighters, the photographs show a group of naked women being herded into the gas chambers and the cremation of corpses that have just been pulled out. Georges Didi-Huberman’s relentless consideration of these harrowing scenes demonstrates how Holocaust testimony can shift from texts and imaginations to irrefutable images that attempt to speak the unspeakable. Including a powerful response to those who have criticized his interest in these images as voyeuristic, Didi-Huberman’s eloquent reflections constitute an invaluable contribution to debates over the representability of the Holocaust and the status of archival photographs in an image-saturated world.