Table of Contents

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 Schütte)

3. Max Beckmann’s Revenants and Ernst Jünger’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 Ærvold 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)

About the Author

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 Universität 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.