ABSTRACT
This last chapter discusses the position of the Atjeh photographs since the second half of the 1960s, when the Atjeh War was increasingly connected to larger and other episodes of violence in Western modernity, including imperialism, the Holocaust, and the Vietnam War. It was specifically KR3 and KR2 that played a role in these debates, the first being reprinted in a new history of the Atjeh War by Paul van ‘t Veer published in 1969, and the second appearing in an episode of the critical television series Indisch ABC broadcast in 1969-1970. These moments will be discussed in the first part of this chapter. In the second part, I discuss four cases since 1970 that show the continued dialectic between multidirectional and compartmentalized memory in Dutch colonial memory: the 1976 feature film Max Havelaar, which has a scene based on KR3; the debate in the 1980s over the meaning of KR3 in Loe de Jong’s 29-volume The Kingdom of the Netherlands in the Second World War; and the roles of KR3 and KL2 in a 2007 debate on the Dutch contribution to the War on Terror in Afghanistan.
