Analyzing the âPhotographic Evidenceâ of the Nanking Massacre
Analyzing the âPhotographic Evidenceâ of the Nanking Massacre
Analyzing the âPhotographic Evidenceâ of the Nanking Massacre
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Conclusion: Composite, Play-up, Reprint, and Fabricated CaptionOne may summarize <strong>the</strong> characteristics <strong>of</strong> <strong>the</strong> 70 photographs that formed <strong>the</strong>“roots” <strong>of</strong> <strong>the</strong> atrocity photos as <strong>the</strong> following:1. Most <strong>of</strong> <strong>the</strong> images are <strong>of</strong> unknown origin—one cannot ascertain who took it, at whatlocation and on what date. Photographers were identified only for about ten pictures.2. As for those photographs whose origins were firmly established, <strong>the</strong>y were ei<strong>the</strong>rplayed-up images used for propaganda purposes or reprints from Japanese photomagazines with fabricated captions attached.3. One can barely determine which photograph was taken in <strong>Nanking</strong>. In addition, <strong>the</strong>scenes captured in many <strong>of</strong> <strong>the</strong>se images were not those <strong>of</strong> winter—<strong>the</strong> season in which<strong>the</strong> Japanese occupied <strong>Nanking</strong>.4. No single photo conveys <strong>the</strong> image <strong>of</strong> a large-scale massacre allegedly claiming300,000 lives. One can see about a dozen dead bodies only on two photographs.Almost all o<strong>the</strong>r images are <strong>of</strong> one or two dead bodies. Victims shown in <strong>the</strong>se picturesare women and children in quite a few cases.5. No image shows <strong>the</strong> demeanor or facial expression <strong>of</strong> <strong>Nanking</strong> citizens who weresupposedly under a reign <strong>of</strong> terror as American newspaper articles and Timperly’s workdescribed.In <strong>the</strong> end, all photographs in RBS and WMRB are determined to be <strong>of</strong> dubiousquality as photographic evidence that depicted <strong>the</strong> reality <strong>of</strong> <strong>Nanking</strong> at <strong>the</strong> time. At <strong>the</strong>same time, <strong>the</strong>y prove to be propaganda images which <strong>the</strong> GMD propaganda bureau oreven <strong>the</strong> GMD government itself fabricated to degrade <strong>the</strong> image <strong>of</strong> <strong>the</strong>iropponent—Japan. Ano<strong>the</strong>r fact that gradually took shape in <strong>the</strong> course <strong>of</strong> analyzing<strong>the</strong>se photographs is that a number <strong>of</strong> published books and videos have used <strong>the</strong>m ei<strong>the</strong>rwithout au<strong>the</strong>ntication, by retouching, or with fabricated captions.Thus, <strong>the</strong> conclusion <strong>of</strong> this chapter is that none <strong>of</strong> <strong>the</strong> 70 photographs, fromwhich <strong>the</strong> “atrocity photographs” as <strong>the</strong>y are known today originated, can be a piece <strong>of</strong>viable evidence to prove <strong>the</strong> occurrence <strong>of</strong> atrocities in <strong>Nanking</strong>. To accept thisconclusion is up to <strong>the</strong> reader.127