The present study is based upon an impressive collection of documents. It investigates two layers between photography and violence. The first one presents the photograph as a mirror of the terrible acts perpetrated by the Italian troops in the
Balkan. But the photograph constitutes also as a very part of the violent act itself. As a matter of fact, horror just exists as a set-up and is justified only when commemorated by the snapshoot, which appears as the trophy to commemorate violence.