Abstract

This article examines how photographs of women taken by Marc Garanger during his army service in Algeria (1960–1962) have become sites of multiple, often competing mnemonic projections. At the height of the Algerian War of Independence, Garanger produced nearly two thousand identity photographs of those displaced by the French army from villages to detention camps. The photographs of women are some of the most cited images from the war, having been popularised through Garanger’s own photobooks. They are either read as strictly exploitative or, following Garanger’s narrative, as bearing witness to Algerian suffering. The article departs from attempts to fix the ‘true’ meaning of these images and examines their afterlives, while reflecting upon the hyper-visibility of women as images. It discusses newly recovered archival material, alongside Garanger’s decision to return to Algeria in 2004, revealing inconsistencies in Garanger’s carefully crafted narrative and reflecting upon the speculative futures of these contested images.

摘要

本文探讨了马克·加兰格 (Marc Garanger) 在阿尔及利亚服役期间（1960-1962 年）拍摄的女性照片如何成为多种且经常相互竞争的助记符投影的场所。在阿尔及利亚独立战争最激烈的时期，加兰格拍摄了近两千张因法国军队而从村庄流离失所到拘留营的人们的身份照片。女性照片是战争中被引用最多的照片之一，通过加兰格自己的摄影集而广受欢迎。它们要么被解读为严格的剥削，要么按照加朗格的叙述，被解读为阿尔及利亚苦难的见证。这篇文章没有试图确定这些图像的“真实”含义，并审视了它们的来世，同时反思了女性作为图像的过度可见性。它讨论了新恢复的档案材料，