Katy Parry is Professor of Media and Politics at the University of Leeds, UK. Her books include Visual Communication: Understanding Images in Media Culture (2019), co-authored with Giorgia Aiello, and Spaces of War, War of Spaces (Bloomsbury, 2020), co-edited with Sarah Maltby, Ben O’Loughlin and Laura Roselle. She is a co-editor of the journal Media, War & Conflict.Mani Sharpe is Lecturer in Film at the University of Leeds, UK. He is author of the monograph Late-colonial French Cinema: Filming the Algerian War of Independence (2023). He is generally interested in how films convey the process of military-colonial loss through different formal techniques and themes.

• List of FiguresList of ContributorsAcknowledgementsIntroduction: War Faces on Screen Mani Sharpe (University of Leeds, UK)Part 1: Photographing Faces of War1. Now You See Them, Now You Don’t: A Photographic series of Afghan Interpreters and Veteran Advocates in the Aftermath of the War in Afghanistan (2001-2021) Sara de Jong (University of York, UK) and Andy Barnham (Photographer, UK)2. Faces of War: An Interview with Alexander ChekmenevMani Sharpe (University of Leeds, UK) and Kseniia Lazareva (University of Leeds, UK)3. Sentimentalizing Trauma: Ways of Seeing War Faces in Visual Generative AIKaty Parry (University of Leeds, UK) and Giorgia Aiello (University of Milan, Italy)Part 2: Cinematic Close-ups and Drone Vision4. The Face, Combat Trauma and the Other in Apocalypse Now Guy Westwell (Queen Mary University of London, UK)5. Pathos Signals in the Contemporary American War Film: The Transfer of AffectRobert Burgoyne (Writer, UK)6. Target Confirmed: Drone Visuality, Dehumanization, and the Weeping Soldier in Eye in the SkyAlex Adams (Independent Scholar)7. Attending the Dead: Digital Colourization, Injury and the First World War Archive Liz Watkins (University of Leeds, UK)Part 3: Colonization, Decolonization and Defacement 8. The War Face Off-Screen: Catalogue Descriptions, Imperial Interpellations, and Reading On- and Off-Screen Faces in British Boer War FilmsAnushrut Ramakrishnan Agrwaal (University of St Andrews, UK)9. In Defence of Facelessness: Opacity in Trinh T. Minh-ha’s Documentaries Surname Viet Given Name Nam (1989) and Shoot for the Contents (1992)Leonie Gschwendtberger (University of Bristol, UK) 10. Screening the Faces and Non-Faces of War: A Political Physiognomy Mangalika de Silva (New York University, USA)Index

War Faces on Screen is not just another book about visualizing war, but an incisive critical anatomy of how faces absorb, perform and resist military violence. From disfigured physiognomies to AI-generated pathos, the volume exposes the affective and ideological charge of both full-frontal visibility and strategic opacity. What emerges is a dense interdisciplinary archive of facial aesthetics and politics — from Hollywood close-ups to drone vision, postcolonial defacement to digital gloss. This conceptually rich volume treats the face not as surface but as interface: a screen of projection, a site of trauma and a battleground of meaning. A major contribution to media studies, visual culture and the geopolitics of spectatorship.

Katy Parry is Professor of Media and Politics at the University of Leeds, UK. Her books include Visual Communication: Understanding Images in Media Culture (2019), co-authored with Giorgia Aiello, and Spaces of War, War of Spaces (Bloomsbury, 2020), co-edited with Sarah Maltby, Ben O’Loughlin and Laura Roselle. She is a co-editor of the journal Media, War & Conflict.Mani Sharpe is Lecturer in Film at the University of Leeds, UK. He is author of the monograph Late-colonial French Cinema: Filming the Algerian War of Independence (2023). He is generally interested in how films convey the process of military-colonial loss through different formal techniques and themes.

• List of FiguresList of ContributorsAcknowledgementsIntroduction: War Faces on Screen Mani Sharpe (University of Leeds, UK)Part 1: Photographing Faces of War1. Now You See Them, Now You Don’t: A Photographic series of Afghan Interpreters and Veteran Advocates in the Aftermath of the War in Afghanistan (2001-2021) Sara de Jong (University of York, UK) and Andy Barnham (Photographer, UK)2. Faces of War: An Interview with Alexander ChekmenevMani Sharpe (University of Leeds, UK) and Kseniia Lazareva (University of Leeds, UK)3. Sentimentalizing Trauma: Ways of Seeing War Faces in Visual Generative AIKaty Parry (University of Leeds, UK) and Giorgia Aiello (University of Milan, Italy)Part 2: Cinematic Close-ups and Drone Vision4. The Face, Combat Trauma and the Other in Apocalypse Now Guy Westwell (Queen Mary University of London, UK)5. Pathos Signals in the Contemporary American War Film: The Transfer of AffectRobert Burgoyne (Writer, UK)6. Target Confirmed: Drone Visuality, Dehumanization, and the Weeping Soldier in Eye in the SkyAlex Adams (Independent Scholar)7. Attending the Dead: Digital Colourization, Injury and the First World War Archive Liz Watkins (University of Leeds, UK)Part 3: Colonization, Decolonization and Defacement 8. The War Face Off-Screen: Catalogue Descriptions, Imperial Interpellations, and Reading On- and Off-Screen Faces in British Boer War FilmsAnushrut Ramakrishnan Agrwaal (University of St Andrews, UK)9. In Defence of Facelessness: Opacity in Trinh T. Minh-ha’s Documentaries Surname Viet Given Name Nam (1989) and Shoot for the Contents (1992)Leonie Gschwendtberger (University of Bristol, UK) 10. Screening the Faces and Non-Faces of War: A Political Physiognomy Mangalika de Silva (New York University, USA)Index

War Faces on Screen is not just another book about visualizing war, but an incisive critical anatomy of how faces absorb, perform and resist military violence. From disfigured physiognomies to AI-generated pathos, the volume exposes the affective and ideological charge of both full-frontal visibility and strategic opacity. What emerges is a dense interdisciplinary archive of facial aesthetics and politics — from Hollywood close-ups to drone vision, postcolonial defacement to digital gloss. This conceptually rich volume treats the face not as surface but as interface: a screen of projection, a site of trauma and a battleground of meaning. A major contribution to media studies, visual culture and the geopolitics of spectatorship.

Katy Parry is Professor of Media and Politics at the University of Leeds, UK. Her books include Visual Communication: Understanding Images in Media Culture (2019), co-authored with Giorgia Aiello, and Spaces of War, War of Spaces (Bloomsbury, 2020), co-edited with Sarah Maltby, Ben O’Loughlin and Laura Roselle. She is a co-editor of the journal Media, War & Conflict.Mani Sharpe is Lecturer in Film at the University of Leeds, UK. He is author of the monograph Late-colonial French Cinema: Filming the Algerian War of Independence (2023). He is generally interested in how films convey the process of military-colonial loss through different formal techniques and themes.

• List of FiguresList of ContributorsAcknowledgementsIntroduction: War Faces on Screen Mani Sharpe (University of Leeds, UK)Part 1: Photographing Faces of War1. Now You See Them, Now You Don’t: A Photographic series of Afghan Interpreters and Veteran Advocates in the Aftermath of the War in Afghanistan (2001-2021) Sara de Jong (University of York, UK) and Andy Barnham (Photographer, UK)2. Faces of War: An Interview with Alexander ChekmenevMani Sharpe (University of Leeds, UK) and Kseniia Lazareva (University of Leeds, UK)3. Sentimentalizing Trauma: Ways of Seeing War Faces in Visual Generative AIKaty Parry (University of Leeds, UK) and Giorgia Aiello (University of Milan, Italy)Part 2: Cinematic Close-ups and Drone Vision4. The Face, Combat Trauma and the Other in Apocalypse Now Guy Westwell (Queen Mary University of London, UK)5. Pathos Signals in the Contemporary American War Film: The Transfer of AffectRobert Burgoyne (Writer, UK)6. Target Confirmed: Drone Visuality, Dehumanization, and the Weeping Soldier in Eye in the SkyAlex Adams (Independent Scholar)7. Attending the Dead: Digital Colourization, Injury and the First World War Archive Liz Watkins (University of Leeds, UK)Part 3: Colonization, Decolonization and Defacement 8. The War Face Off-Screen: Catalogue Descriptions, Imperial Interpellations, and Reading On- and Off-Screen Faces in British Boer War FilmsAnushrut Ramakrishnan Agrwaal (University of St Andrews, UK)9. In Defence of Facelessness: Opacity in Trinh T. Minh-ha’s Documentaries Surname Viet Given Name Nam (1989) and Shoot for the Contents (1992)Leonie Gschwendtberger (University of Bristol, UK) 10. Screening the Faces and Non-Faces of War: A Political Physiognomy Mangalika de Silva (New York University, USA)Index

War Faces on Screen is not just another book about visualizing war, but an incisive critical anatomy of how faces absorb, perform and resist military violence. From disfigured physiognomies to AI-generated pathos, the volume exposes the affective and ideological charge of both full-frontal visibility and strategic opacity. What emerges is a dense interdisciplinary archive of facial aesthetics and politics — from Hollywood close-ups to drone vision, postcolonial defacement to digital gloss. This conceptually rich volume treats the face not as surface but as interface: a screen of projection, a site of trauma and a battleground of meaning. A major contribution to media studies, visual culture and the geopolitics of spectatorship.