Iconography of a prison massacre
Drawings by Peruvian Shining Path war survivors
in Art, Global Maoism and the Chinese Cultural Revolution
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

Anouk Guiné’s study is set against the background of the civil war between the Communist Party of Peru (PCP), also known as Shining Path (Sendero Luminoso), and the Peruvian state, a conflict that began in 1980 and lasted well into the 1990s. Relying also on interviews with detainees, Guiné engages with the depiction of the massacre that was produced by Maoist convicts. She discusses issues of memory, resistance, resilience and popular imagery.


All Time Past Year Past 30 Days
Abstract Views 76 76 1
Full Text Views 0 0 0
PDF Downloads 0 0 0