The aim of this paper is to contribute to the understanding of imagistic violence by focusing—by means of a phenomenology open to dialogue with neighboring disciplines, from historiography to semiotics—on the particular case of photographs depicting atrocities, examples of photojournalism or images captured at crime scenes by forensic agents and presented as evidence during trials. To this end, I will implement a three-step analysis. First, I will seek to clarify the meanings associated with photography presented as evidence by adopting Husserl’s phenomenological framework and by following a historiographical and juridical approach while verifying the grounds for the opposition that appears to be emerging between a paradigm of resemblance and a model of indirect, conjectural knowledge. Second, I will focus on how photography’s capacity to sustain a maximum degree of the reproduction of the real is problematized when the pictorial object is a violent scene that suspends, contradicts, and dismantles the order of the viewer’s experience. Finally, I will conclude by offering a hypothesis on the act of “seeing-with-other” and its phenomenological implications for the case of imagistic violence as evidence. Specifically, I will argue that we are more likely to understand imagistic violence at the level of a collective seeing than through a solitary gaze.

本文的目的是通过关注——通过与相邻学科（从史学到符号学）开放对话的现象学——关注描绘暴行的照片、新闻摄影的例子或在法医人员勘察犯罪现场并在审判期间作为证据出示。为此，我将实施三步分析。首先，我将采用胡塞尔的现象学框架，遵循历史学和司法学的方法，试图澄清与作为证据呈现的摄影相关的含义，同时验证相似范式与间接模型之间似乎出现的对立的理由。 ，推测性知识。其次，我将重点讨论当图像对象是一个悬置、矛盾和瓦解观看者体验秩序的暴力场景时，摄影维持最大程度再现真实的能力如何受到问题。最后，我将提出一个关于“与他人一起观看”行为的假设及其对作为证据的意象暴力案例的现象学含义。具体来说，我认为我们更有可能在集体观看的层面上理解意象暴力，而不是通过单独的凝视。