Oldal 172 [172]
OCR
170 Olli Kleemola beginning of the war disappeared after the defeat at Stalingrad; but, all in all, the photo propaganda does not actually reflect the changing situations during the war very well. Of course, the cases analysed here only allow us to obtain a crude idea of what kind of visual strategies were used to describe ‘the enemy’ during WWII in Finland and Germany. Still, they show that even though Finnish and German propaganda photography has certain universal characteristics, they certainly differ from one another and also reflect the different points of view of both countries. Sources Bundesarchiv Bildarchiv (The Picture Archives of the Federal Archives) Koblenz, collection Bild 183, Germany. Dokumentationszentrum des Osterreichischen Widerstandes (Documentation Centre of Austrian Resistance) (DOW), Austria. SA-kuva-arkisto (Finnish Wartime Photograph Archive), www.sa-kuva.fi (last accessed on: January 7, 2014). Berliner Illustrierte Zeitung (‘Berlin's Illustrated Magazine’), 1941-1945. Die Wehrmacht, 1941-1944. Hakkapeliitta, 1941-1944. Illustrierter Beobachter (“Ihe Illustrated Observer’), 1941-1945. Suomen Kwvalebti ( Illustrated Magazine of Finland"), 1941-1944. References Blank M. (ed.) 2003. Beutestücke. Kriegsgefangene in der deutschen und sowjetischen Fotografie 1941-1945 (‘Spoils of War. Prisoners of War in German and Soviet War Photographs in 1941-1945’). Berlin: Ch. Links. Boelcke W. (ed.) 1989. Wollt Ihr den totalen Krieg? Die geheimen Goebbels-Konferenzen 1939-1945 (‘Do You Wish for Total War? The Secret Goebbels Conferences in 1939-1945’). Herrsching: Manfred Pawlak. Buchbender O. 1978. Das tönende Erz. Deutsche Propaganda gegen die Rote Armee im Zweiten Weltkrieg (A Resounding Gong. German Propaganda against the Red Army in the Second World War). Stuttgart: Seewald. Buchmann W. 1999. “Woher kommt das Photo?” Zur Authentizitat und Interpretation von historischen Photoaufnahmen in Archiven (“Where Does the Photo Come from?” On the Authenticity and Interpretation of Archived Historical Photographs’). Archivar, vol. 4, pp. 296-306. Frolov D. 2012. Kuviin vangitut. Suomalaiset sotavangit valokuvissa (‘Captured in Pictures. Finnish POWs in Photographs’). Helsinki: Edita Publishing Oy. Glasenapp J. 2012. Vergangenheit und Zukunft. Wie fotografischer Sinn entsteht ("The Past and the Future. How Meaning is Formed in Photographs’). Fotogeschichte, vol. 124, pp. 5-12.
