Abstract
ABSTRACTThis article examines conflicting discourses around woman on the British World War Two home front through a selection of photographs taken by the American photographer, Lee Miller, for publication in her photographic book Wrens in Camera. Through Rancière's concept of the ‘pensive image’ this paper unpacks three of Miller's seemingly innocuous photographs and examines how she mobilized a complex network of aesthetic regimes to engage with an equally complex array of discourses around women in the services at this particular historical juncture.
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