ABSTRACT
This chapter considers the evidential status of photography and film relating to Rwandan genocide, in order to respond to questions about the meanings and uses of images of the pain of others. It describes the circumstances of the capture of images of pain, the issues of exposure, proof, power and protection enmeshed therein, which are rendered particularly acute when the moment of death is held on film. The chapter concerns the afterlife of such images, with their continued insistence in the world, and with their involvement in legal, memorial and ethical reckoning. Juan Reina's Iseta: Behind the Roadblock is a combination of a particular, personal investigation and a more general portrait of the genocide. It opens with Nick Hughes saying: 'family by family, road by road, roadblock by roadblock, people were being exterminated. The status of Alex's images in this regard might be compared to that of the writings known as the Scrolls of Auschwitz.
