Abstract
This essay reviews an exhibition of André Zucca's photographs titled "Les Parisiens sous l'Occupation," which caused an uproar when it opened in March 2008 at the Musée de la Bibliothèque historique de la ville de Paris. Not surprisingly, the controversy centered on the collaborationist past of Zucca, a photographer for the Nazi wartime periodical Signal. Because Zucca chose to photograph the sunnier side of life in wartime Paris, the exhibition raised the question of just how much Parisians "suffered" during the Occupation. It also demonstrated the powerful role of photography in shaping national memory.
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