Howard argues that interment camp living arrangements reshaped gendered labor divisions and provided women with greater non-domestic employment opportunities as well as provided a space for more interactions among queer internees.

Kozol examines how the gaze of the US Government in WRA photos of internment obstructs the viewer’s access to “real” experiences of internment and erases the discrimination, hard conditions, and true realities of the camps.
Creef’s chapter explores how the Japanese American body was Orientalized and feared and how photographers Lang, Adams, and Miyatake all attempted to represent the double identities and alienation of the prisoners.

Photography of Japanese American internment in the 1940’s was mostly state-sponsored as prisoners were not allowed to bring their own cameras into the camps. With this in mind, it should not be a surprise that most of the photographs of camp life were meant for the white American or governmental gaze and thus struggle in representing the dual identities and alienation of the Japanese American internees.  Most of the photos, whether state-sponsored (Lang) or not (Adams) follow conventions of 1930’s FSA photographs and provide little context for their subjects. The decontextualized images erase the injustices of internment and present their subjects as loyal citizens following the social guidelines of white America. The photographs, which often present domestic scenes of nuclear families, also actively erase the restructuring of gender roles taking place in the camps.

In response to:

Elena Tajima Creef. “The Representation of the Japanese American Body in the Photographs of Ansel Adams, Dorothea Lange, and Toyo Miyatake.”
Wendy Kozol.”Relocating Citizenship in Photographs of Japanese Americans in World War II”
John Howard. “Camp Life” in “Concentration Camps on the Home Front”