2001 年《集中營回憶展》（Mémoire des camps）展出了由奧許維茲－伯 肯諾納粹集中營博物館（Auschwitz-Birkenau State Museum）館藏，由集 中營內部偷拍而成的四張照片。當時法亞曼（Gérard Wajcman）等人批評 這四張照片是個謊言，無法證明集中營曾經存在，但策展人之一的笛 笛－余柏曼（Georges Didi-Huberman）在《影像儘管所有》（Images malgré tout）一書反駁法亞曼等人對其偏頗的解讀方式，並提及對方在影像認 識論上的侷限。笛笛－余柏曼的書名「影像儘管所有」有兩層意思，第 一層是儘管納粹禁止任何集中營的影像流出，這些集中營影像仍被偷藏 攜帶出來，第二層的意思則是強調，儘管我們無能力去瞭解集中營影 像顯露的事件，我們仍要持續地讓任何描述集中營事件的影像發生， 意即他在書中意圖逆轉法亞曼所代表的對於集中營影像的「無法想像」 （unimaginable）概念的限制。本文企圖從此四張照片引起的爭議開始， 討論此爭議所涉及的影像生產以及因為影像認識論框架而來的「攝影」被 當作事件見證之物的爭議。另，本文試圖經由笛笛－余柏曼所提到的， 從各種文本檔案、影像、證言所提供的記憶與可讀性影像需求中，事件後影像的現身可作為批判觀點（critical point）的角度出發，進一步討論攝 影如何成為事件見證之物，以及其所內含的影像辯證性（dialectical）意義 為何。

This paper discusses the theoretical debate on four photographs, preserved in Auschwitz-Birkenau State Museum, which were taken secretly from the camp in Berkenau and displayed in the exhibition, Mémoire des camps, in 2001. Georges Didi-Huberman, one of the curators of this exhibition, wrote a book, Images malgré tout, in which he refutes claims by Gérard Wajcman and Élisabeth Pagnoux that these photographs were merely a lie, i.e, cannot prove the existence of the Shoah. In Didi-Huberman’s book, “in spite of all” has two meanings: first, despite Nazi prohibitions, these photographs were still displayed outside; second, which is the most important, in spite of our own inability to look at these images, we ought to let the images appear against the grand idea of the unimaginable Auschwitz. Starting from this debate, this paper attempts to explain how photography, as material evidence, is entangled in the historical interpretation and production of the truth. That is, how historical interpretation biases the readings of photography. Finally, this paper also aims to address Didi-Huberman’s concept of “dialectical images” and discusses the possibility of reading images as cultural symptoms in the perception of the historical event.