Preface (W.J.T Mitchell) Introduction (Anders Engberg-Pedersen and Kathrin Maurer) Part I: Equivocal Emotions 1. Cropped Vision: Photography and Complicity in Women's World War II Memoirs (Elisabeth Krimmer) 2. Horsemeat with Cucumber Salad: Laughing at the Images of War in Alexander Kluge's Films (Andrea Schutte) 3. Max Beckmann's Revenants and Ernst Junger's Drones: Vision and Coolness in the Interwar Period (Christine Kanz) Part II: Emotional Technologies 4. Flat Emotions: Maps and Wargames as Emotional Technologies (Anders Engberg-Pedersen) 5. The Paradox of Total Immersion: Watching War in Nineteenth-Century Panoramas (Kathrin Maurer) 6. Post-Traumatic Stress Disorder in Drone Operators: Relying on Uncertainty in Omer Fast's 5,000 Feet is the Best (2011) (Svea Braeunert) 7. Towards a Poor Cinema: The Performativity of Mobile Cameras in New Image Wars (Katarzyna Ruchel-Stockmans) Part III: Building Emotional Communities 8. Visualizing Community: A Look at World War II Propaganda Films (Hermann Kappelhoff) 9. From Warrior Heroes to Vulnerable Boys: Debunking "Soldierly Masculinity" in Tim Hetherington's Infidel Photos (Thomas AErvold Bjerre) 10. Visualizing War in the Museum: Experiential Spaces, Emotions, and Memory Politics (Stephan Jaeger) 11. War in the Age of Anti-Social Media (Jan Mieszkowski)
Anders Engberg-Pedersen is Associate Professor of Comparative Literature at the University of Southern Denmark. He holds a PhD from Harvard University in Comparative Literature and from Humboldt Universitat in German Literature. He is the author of Empire of Chance: The Napoleonic Wars and the Disorder of Things and editor of Literature and Cartography: Theories, Histories, Genres. Kathrin Maurer is Associate Professor of German Literature at the University of Southern Denmark. She holds a PhD from Columbia University in German Literature and has also worked as an Assistant Professor at the University of Arizona. She is the author of Visualizing the Past: The Power of the Image in German Historicism.