This essay reviews an exhibition of André Zucca's photographs titled "Les Parisiens sous l'Occupation," which caused an uproar when it opened in March 2008 at the Musée de la Bibliothèque historique de la ville de Paris. Not surprisingly, the controversy centered on the collaborationist past of Zucca, a photographer for the Nazi wartime periodical Signal. Because Zucca chose to photograph the sunnier side of life in wartime Paris, the exhibition raised the question of just how much Parisians "suffered" during the Occupation. It also demonstrated the powerful role of photography in shaping national memory.
The Zucca Controversy
Mary Louise Roberts
Fabrice Virgili and Danièle Voldman
Last spring in France a controversy arose over an exhibit of André Zucca's photographs of Paris under German occupation. The well-known photo journalist worked for the Nazi magazine Signal during World War II. For that reason, some people disapproved of an exhibit on the work of a former "collaborateur," a man who, in a way, helped Hitler's Germany. Those who prepared the exhibit justified the project on the basis of the beauty of Zucca's colored photos and the rarity of wartime color photos. They insisted on the importance of his use of agfacolor film, which was generally available only to Germans. Critics of the exhibition found Zucca's privileged access all the more disturbing. An analysis of the archives from the period exposes the complexity of the affair and the need for further research. Evidence from documents on Zucca's activity and opinions during the war reveal a man little interested in the world except to photograph it.
The Role of the Judiciary in a Deliberative System
Donald Bello Hutt
wish to thank the two reviewers of this journal for their comments and suggestions. I am also thankful to Adrian Blau, Udit Bathia, Lorenzo Zucca, Koldo Casla, Johan Olsthoorn, Sebastian Reyes, Andreas Schäfer and Räphael Kies for their comments on