Organizers: Prof. Nicole Immig, Alexander Bonk (JLU Giessen)
Photo Albums and the First World War in East and Southeast Europe (1912–1923):
Medium–Memory–Object
(Workshop JLU, 19–20 Nov. 2026)
Numerous photo albums and collections from the two World Wars are held in German archives alone—often poorly inventoried or insufficiently processed. The number of albums forgotten in private hands on attics, in basements, or in boxes is almost impossible to estimate. We do not know how many albums were discarded due to ignorance, lack of interest, lack of space, or shame. At the same time, photography is still rarely taken seriously as an independent primary source in historical sciences. Most often, photographs serve as illustrations or as support for what already seems sufficiently proven through textual sources.
However, research such as that by Anton Holzer on the First World War and Petra Bopp on the Second World War has long demonstrated the value of photography for both military and cultural/art history. For instance, photographs—and private albums in particular—help to
reconstruct the daily lives of combatants and civilians, provide insights into local frontline developments, devastation, and environmental destruction, as well as gender relations. They also illuminate, for example, how people remembered wars and provide insight into why men and women became perpetrators.
At the same time, the First World War marked a decisive turning point in the history of photography and image production. In Western Europe, for many people, the memory of war is primarily shaped by the numerous images of the battlefields. On one hand, warring states began to systematically use official propaganda and documentation material for their war aims, while simultaneously introducing strict censorship mechanisms. On the other hand, portable and relatively inexpensive cameras for the first time enabled the production of a mass of private visual testimonies “from below,” which were often found in private photo albums or collections. Particularly in combination with field letters, diaries, or official documents, such photo collections allow for a nuanced reconstruction of the course of the war. They help to fill knowledge gaps, confirm, supplement, or challenge established (master)
narratives. They contribute to making “forgotten,” marginalized, and research-neglected war theaters in Eastern and Southeastern Europe more visible. Accordingly, the workshop treats the First World War through a broad temporal lens, including the Balkan Wars and the
subsequent conflicts across the Eastern Mediterranean and Eastern Europe.
This workshop aims to focus on private war photo albums and photographic collections of the First World War and to discuss them as sources for the social, everyday, and remembrance of the conflict. Geographically, the focus lies on Eastern and Southeastern Europe. By applying such a regional scope, we address the imbalanced state of research on the First World War, which still contains significant research gaps in many areas. Our objective is twofold: first, to bring visibility to previously overlooked or unexamined collections of war photo albums and to explore their research potential; and second, to create a forum for exchanging research approaches, methods, and challenges, thereby fostering networking between archivists, collectors, and (visual) historians in the field.
We invite PhD candidates to submit abstracts addressing the following topics:
• How do war photo albums contribute to the research of the First World War in Eastern and Southeastern Europe?
• How and through what means do they remember, provide meaning to, and narrate the war?
• What range of regional and social experiences can be identified through the various photo albums?
• What role do materiality and design play?
• What archival material is available in the field of Visual History that has not yet been (fully) processed, has received no attention, and could offer informational potential?
• What role do collection contexts and histories play in official, institutional, and private collections and archives?
• What role do albums play in intra-generational remembering?
• Which research approaches and methods are available to us, and where do they reach their limits?
• How do we interpret what is shown in the context of other materials?
• How do we deal with omissions and lacunae?
• How is “digitality” and digital methods changing the handling of albums and photographic collections of the First World War?
We welcome abstract submissions that engage with the aforementioned themes, as well as other relevant topics. Early career scholars are strongly encouraged to submit abstracts for the conference. The workshop is scheduled as an in-person event for November 19 and 20, 2026, at the Justus Liebig University Giessen. The conference will be held in English.
Submission Guidelines
Abstracts should be 250–400 words and include a title, key arguments, and methodology.
Include a short bio with your submission. Submissions should be sent to
alexander.m.bonk@geschichte.uni-giessen.de by Oct 5 2026. Travel costs and accommodation are provided by the organizers. Please indicate in your application if you need travel support. Admitted participants will be notified in detail by Oct 15 2026 together with information on travel and accommodation. Selected papers will be considered for publication in an edited volume planned for 2027. Our partners are: Herder-Institut Marburg, Giessener Zentrum Östliches Europa (GIZO) and the Südosteuropa-Gesellschaft (SOEG).



