Woman as Battleground

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