Over the last two decades an established photographic archive has emerged documenting the insurgency uprisings in the southern state of Chiapas, Mexico. This article examines some of the problematics of representation that have been brought to light through the case of the EZLN and
the indigenous chiapaneco subject in photography. It questions the notion of authorship and autonomy within the image-making process and acknowledges changes in direction in terms of representation and the re-appropriation of the image. The growing rejection of the camera on behalf of the
indigenous subject brings to the forefront the questioning of the role of photographic archaeology and the use of the image as testimony. This article examines the ideological conjectures of imagemaking in the context of Chiapas whilst observing examples of visual responses to the mass-produced
visual outputs made during the height of conflict.
Journal of Romance Studies promotes innovative critical work in the areas of linguistics, literature, performing and visual arts, media, material culture, intellectual and cultural history, critical and cultural theory, psychoanalysis, gender studies, social sciences, and anthropology. The primary focus is on those parts of the world that speak, or have spoken, French, Italian, Spanish or Portuguese, but work on other cultures may be included. Issues cross national and disciplinary boundaries in order to stimulate new ways of thinking about cultural history and practice.