Abstract
Government censorship of Japanese American internment photography did not end with World War II. Scholars examining internee portraiture captured by War Relocation Authority (WRA) photographers actually suppressed images showing prisoners having fun or smiling. One WRA cameraman who didn't reframe or censor what he saw was Clem Albers of the San Francisco Chronicle. In April 1942, Albers produced a gallery of intimate, funny, and disturbing portraits, negating claims that WRA stripped its pictorial record of incriminating material.
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