ABSTRACT
This chapter describes the emergence of family photographs from their domestic spaces and into such very public modes of circulation and display in the aftermath of violence to the people they picture. It examines what happens when family snaps leave those domestic spaces, when they are taken from albums or frames or files or boxes, and enter another circulation in the differentiated visual economy: the public constituted by the mass media. The chapter also examines why it is that the British media in the last decade or so has started to publish such photographs. It considers only the public constituted by the mass media, and the next is even more specific in its focus on newspapers. Even if it is impossible to draw simple boundaries between the multiple forms of the visual economy, the chapter nonetheless suggests that the mobility of family snaps.
