ABSTRACT
This chapter suggests the need for and explores the effects of, another, postsentimental way of seeing the photographs of the missing and the dead. Although the technology and formats of photography were acknowledged to be changing, then, nonetheless these were all photos being used in time-honoured tradition of photojournalism, as seemingly transparent windows onto the world, turning those of us who weren't there into apparent witnesses of places and people. Judith Butler, for example, has drawn on the work of Emmanuel Levinas. Similarly, although from a Deleuzian direction, Patricia Ticineto Clough has talked about 'cutting out an apparatus of knowing and observation from a single plane or for differently composing elements of an apparatus with the aim of eliciting exposure or escaping it, intensifying engagement or lessening it'. The UK newspapers showed their readers many, many photographs of those missing and dead after the bombings in July 2005, in pages and pages of ordinary, everyday photos.
