André Zucca’s color photographs of Paris during the German occupation of WWII have provoked controversy because Zucca worked for a German propaganda magazine. But Richard Brody argues that Zucca’s photographs are true to the Paris of the time and don’t just show the “cheerful ease” of the city’s residents.
Certainly, Zucca couldn’t get the whole story: he photographed Jews wearing the star but couldn’t show the roundups or the deportation to Auschwitz; he could show German soldiers but couldn’t show the arrest, torture, and execution of resisters. He couldn’t, but nobody could; the problem wasn’t that he worked for a propaganda rag: photographers who actively worked for the Resistance couldn’t do it either. But what he did do was to capture the paradoxes of the Occupation, where horror and pleasure coexisted in shockingly close proximity, where the active resistance to Nazi occupation was in fact far less prevalent than the feigned daily oblivion of those who kept their heads down and tried to cope.