Abstract
Mugshots’ uses and practices—from Bertillon to Lombroso—show the photograph’s power: face and its photographic image are a form of control for protecting the establishment. However political value and subversive force of photography lies in the dialectic between known and unknown that the image of the photographed face produces. Photographic portrait produces new, previously unknown relationships if it isn’t only used for purposes of reproduction: so it is able to be in opposition to the established order and its imperatives that want to eliminate chaos and differences.
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