Аннотация:This article argues for the need to historicize the use and reception of photographs taken of Allied POWs upon release from Japanese prison camps at the end of World War Two. Photographs of semi-naked, emaciated POWs at the time of their liberation were extremely unusual images of white men in a state of almost complete abjection. They provide an opportunity to explore the links between masculinity and war with particular reference to the way visual images—in this case photography—inform and shape that relationship. The images convey contradictory messages to the viewer. They undermine the hegemonic masculinity of the virile male warrior yet unmistakably invoke the power of a quite singular cultural referent: the suffering body of Christ. The argument to be explored here is that this duality of transgression and redemption has contributed to the images' iconic status in collective memories of Australian participation in the Pacific War.
