List of Illustrations  ix
Acknowledgments  xiii
Introduction  1
1. Captive Subjects: On the Geopolitics of Sex and Translation in Walid Raad's Hostage: The Bachar Tapes  27
2. Resistance, Video Martyrdom, and the Afterlife of the Lebanese Left  55
3. Latent Images, Buried Bodies: Mourning Lebanon's Disappeared  93
4. Suspended Places: The Void and the Monument in Post-Civil War Beirut  131
5. Images of Futures Past: The Lebanese Rocket Society  159
Coda. Time Bomb  177
Notes  193
Bibliography  225
Index  239

"Sophisticated and carefully researched . . . . The significance of [Elias's] book for current Anglophone art history is its in-depth and rewarding analysis of a context outside the usual terms of reference." — Tom Snow, Art Monthly

"Sophisticated and carefully researched . . . . The significance of [Elias's] book for current Anglophone art history is its in-depth and rewarding analysis of a context outside the usual terms of reference." —Tom Snow, Art Monthly

“Chad Elias's thoughtful analysis of artistic activity under 'state-sanctioned amnesia' in the Lebanese context is eye-opening and a source of inspiration for anyone interested in the long-lasting effects of imperial violence. The Lebanese Civil War and the amnesia it continues to generate are not assumed as a background against which Lebanese art is studied, or as a source of an un-presentable trauma. Amnesia is conceived as orchestrated by the state and integral to an entire economy of violence, desires, and mistranslations. Elias ingeniously shows art to be both a product of and a medium for this economy, but also a form of resistance to it.” — Ariella Azoulay, author of, Civil Imagination: A Political Ontology of Photography

“Offering a compelling overview of contemporary Lebanese art, Posthumous Images is a welcome addition to cutting-edge scholarship on the Middle East, critically addressing the relationship between media and performance, and the formation of experimental memory cultures following periods of state violence and military conflicts.” — T. J. Demos, author of, Decolonizing Nature: Contemporary Art and the Politics of Ecology

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