"Crime Scenery in Postwar Film and Photography opens our eyes to otherwise invisible witnesses of some of the 20th century's most violent wars. We discover the secrets held by landscapes as distant as Beirut, the West Bank, postwar Germany and Poland, as they have been glimpsed in film and photography. The traces of past and present violence are found on the earth, in the trees, and imprinted across the topography of the viewer's memory, and subsequently, magnified for us through an accessible discussion of image theories from Walter Benjamin to Georges Didi-Huberman." (Frances Guerin, University of Kent, UK) "Where W.J.T. Mitchell speculates that landscape is an exhausted medium for the arts, Henrik Gustafsson finds a new imperative to look at landscape once again, this time to pay attention to the sites where violence has taken place, often without leaving trace. These 'crime scenes', it is persuasively argued, are the sites for artistic fieldwork practices that interrogate our relation to trauma, absence and the experience of secondary witnessing.

Working forensically, patiently across a compelling selection of film and photographic works, Gustafsson in Crime Scenery invites us to see the aesthetics of landscape as an imminently political interface." (Janet Harbord, Queen Mary University of London, UK).