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Notes
Phan Thi is the author’s surname; Kim Phúc is her given name. In Vietnam, as in some other Asian countries, the family name precedes the given name. Thus, Phan Thi Kim Phúc reflects the Eastern order and Kim Phúc Phan Thi reflects the Western order. Although The New York Times provides “Kim Phúc Phan Thi” for the byline and refers to the author as “Ms. Phan Thi,” I will refer to her as “Kim Phúc” in accordance with the Vietnamese custom of calling individuals by their first or given name(s).
For more information about the photograph, see, e.g., https://www.nga.gov/collection/art-object-page.136637.html. For an interview with Ut, see Zhang (2023); for an interview with Kim Phúc, see https://www.pbs.org/newshour/brief/329035/kim-phuc-phan-thi.
In an article by The Associated Press on July 15, 1998, after Loan’s death, Adams is described as saying that “Gen. Loan’s actions were misinterpreted because of the picture.” According to Adams, “The guy was a hero. America should be crying.” “I just hate to see him go this way,” Adams added ruefully, “without people knowing anything about him” (https://www.cbsnews.com/news/general-in-famed-viet-photo-dead/).
An earlier version of “In Plato’s Cave” was published as “Photography” in The New York Review of Books, Vol. XX, No. 16 (October 18, 1973).
In Biber’s book, the first word of the subtitles is not capitalized in the “Contents,” but they are capitalized at the top of the page at the beginning of each chapter. Because the latter style reflects that of Seventeenth Edition of The Chicago Manual of Style (2017), as well as that of Critical Criminology: An International Journal, I have elected to follow it in this review.
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Brisman, A. Katherine Biber: In Crime’s Archive: The Cultural Afterlife of Evidence. Crit Crim 31, 883–894 (2023). https://doi.org/10.1007/s10612-023-09693-w
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DOI: https://doi.org/10.1007/s10612-023-09693-w