Collective Amusement? Sexual Violence as Social Performance on the Eastern Front
Abstract
The point of departure for this article is a photograph from the National Archives in Romania taken by a Wehrmacht soldier somewhere on the Eastern front during the Second World War. It shows a group of fifteen young German soldiers standing in a semi-circle and laughing as one of their comrades’ emulates a sex act on what appears to be the body of an unidentified woman. What is particularly striking and disturbing about this photo is that the violence is not evident at first glance as the image manages to convey the impression of “fun” following the gaze of the male harassers. This article proposes three alternative readings of the photograph: the first section examines photo as a material source of a social performative reality, decoding social practices, individual agencies, and gendered group dynamics within the violent moment depicted in the photograph. Part two embeds the photographic source within its larger historical and geographic contexts of war in the Nazi-occupied East. This renders the image a lens through which to examine power relations between male soldiers at war and the local civilian population. However, it also necessitates additional detailed contextualization the Wehrmacht’s military culture and mission in Europe, particularly on the Eastern front. The third section revisits the photograph by interrogating it for its autonomous meanings. Reflecting on the many layers of what one might call a “colonial selfie,” the article addresses Evans’ claim that it is not the “reality” the photo gestures towards that is important, but rather what the viewers see in it. This, of course, raises question about audience and timing: viewers would likely approach this trophy photo from myriad perspectives depending on factors such as the temporal, geographic, and intellectual contexts.
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