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This essay is the first dedicated solely to the work and archive of Ibrahim andChalil (Khalil) Rissas (Rassas). Ibrahim was one of the pioneers of Palestinian photographyin Jerusalem in the early twentieth century and Chalil, his son, was one of the firstPalestinian photojournalists in the 1940s. Rissas’ images were looted and seized by Israeliofficer from the photographers’ studio, from the body of a soldier or “slain Arab,” or“rescued” from a burning shop. Those photographs that had been looted from the studio, werethe first collection I found in the Israeli military archives. In this essay I chart andanalyze the way Rissas’ images were looted on several occasions and the moral, sociological,and political consequences of these acts—for instance how the looted object becomes a symbolof triumph or acts as a vehicle to dehumanize the enemy. The essay is also the first tofocus on the phenomenon of pillage by individuals who transfer the looted cultural assets tocolonial official archives where they are ruled by the colonial administration. It thusreflects not only the responsibility of states in the process of “knowledge production” andon their role in distorting the past and rewriting history by various bureaucratic,linguistic, and legal means, but also on the role of citizens in these destructiveprocesses.

“Imprisoned Photographs”: The Looted Archive of Photo Rissas (Rassas)—Ibrahim and Chalil (Khalil) Rissas1