ABSTRACT
This chapter traces the Partisan movement in pictures and integrate it into a history of photography, relating it to the production of humanist photography as a form of visual resistance and atonement. This research complements existing work on Partisan photography. In order to understand the way in which Partisan photographic memory was built, the chapter highlights the development of the image of the war victim. The “reversed” masculinity in foreign correspondents’ photography of humiliated men abroad was, in certain antifascist publications, turned into observing humility at home. In the Ethiopian War, censorship did not allow photographers to show warfare, colonial police action, or military action; this was different during the time of the Second World War when representations of warfare in photojournalism became crucial to national credibility. The evolution of the humanist photographic tradition in an Italian context can be traced to lessons learned from Walker Evans and American Depression photography.
