Abstract
This article examines the photograph of the dead body of Carlo Giuliani in the anti‐capitalist protests in Genoa (2001), taken by the Reuters photojournalist, Dylan Martinez. The article discusses the centrality of the photograph in the European press coverage in relation to issues of censorship, aesthetics and politics, and argues that the main reasons for its repeated publication are its iconic power and its accordance with the mass media narrative concerning the protest violence. Finally, the article questions whether shock, fear or even sympathy generated by the viewing of this atrocious photograph can be transmitted into thought, critique and understanding not only of the events in Genoa and but also of the anti‐capitalist movement as a whole.
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