ABSTRACT
This chapter discusses the impact of “citizen-produced photographs” and image migration on spectatorship in the era of digital connectivity, particularly with regard to the appropriation of, and engagement with, war images. Zarzycka attempts to develop a methodological and ethical agenda for placing photographic migration at the forefront of visual analyses. She argues that visual analyses must be informed by the ethics and politics of the process itself; it needs to “eschew traditional separations between audience, text, technology, and institution” and examine how photographic mobility can foster new relationships between photographic practices and their distributors and audiences.
