In early twentieth-century Russia, a disastrous war and social revolution shook the foundations of the imperial state, unleashing the press from censorship and demanding innovation in media coverage. At this very moment, new photographic technology was democratizing access and making high-quality reproductions affordable. This article explores how photography responded to and visualized the unprecedented political violence that engulfed Russia during the Revolution of 1905. Situating this “war at home” in a global context of early commercial and humanitarian photography of violence, it charts the emergence of distinctive visual regimes and spectatorial practices. As photographs made political violence visible within an unruly public sphere, they spotlighted some forms of violence and occluded others. Visual frames and narratives shaped new modes of representation and spectatorship, including regimes of commemoration, documentation, sensationalism, and forensics. This article opens with the most conventional photographic form, the studio portrait, and shows how it became imbricated with the political struggle and a forum for contesting the status of victim and martyr. The second section considers how the illustrated press crafted the terrorist bombing as a visual spectacle, using images with paratext to tell different kinds of stories. Shifting focus from the event to the body, the final section analyzes explicit photographs of the corpse. By exposing the violated body to the public gaze, these photographs posed a question fundamental to modernity, capitalism, and photography: who counts as fully human? This case study concludes with reflections on the categories of proximity and distance in the photography of violence. While the revolution was suppressed by 1907, it inaugurated a vibrant era of mass culture, capitalist consumption, and cultural pessimism, in which photography and film would play increasingly dominant roles.

中文翻译：

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国内战争：1905 年俄国革命中的摄影、政治暴力和奇观

在二十世纪初的俄罗斯，一场灾难性的战争和社会革命动摇了帝国国家的根基，使新闻界摆脱了审查制度，并要求媒体报道进行创新。就在此时，新的摄影技术正在使获取变得民主化，并使高质量的复制品变得负担得起。本文探讨了摄影如何回应和形象化 1905 年革命期间席卷俄罗斯的前所未有的政治暴力。它将这场“国内战争”置于早期商业和人道主义暴力摄影的全球背景下，描绘了独特视觉制度的出现和观众实践。由于照片使不守规矩的公共领域中的政治暴力变得可见，因此它们突出了某些形式的暴力，并遮挡了其他形式的暴力。视觉框架和叙事塑造了新的表现和观看模式，包括纪念、记录、煽情和取证的制度。本文以最传统的摄影形式——工作室肖像开始，展示它如何与政治斗争以及争夺受害者和烈士地位的论坛融为一体。第二部分探讨了插图媒体如何将恐怖爆炸打造为视觉奇观，使用带有副文本的图像来讲述不同类型的故事。最后一部分将焦点从事件转移到尸体上，分析了尸体的露骨照片。通过将被侵犯的身体暴露在公众的目光下，这些照片提出了一个对现代性、资本主义和摄影来说至关重要的问题：谁算作完整的人？本案例研究最后反思了暴力摄影中的接近和距离类别。虽然革命在 1907 年被镇压，但它开启了一个大众文化、资本主义消费和文化悲观主义的充满活力的时代，其中摄影和电影将发挥越来越重要的作用。