This article traces the change in practice and the transition of meaning in the photographs taken in Jewish homes in Germany under the Nazi regime. It draws on the ontological duality of absence and presence embedded in the medium of photography to analyze examples of such photographs selected from numerous archival and private collections, discerning a move away from the practice of interior photography as a tool of social affirmation in the late Weimar Republic toward its attestation of absence and loss shortly before emigration from Germany. Employing the Freudian term uncanny in its original spatial connotation as “unhomely,” the analysis contextualizes the latent presence of the inhabitants in images of vacant interiors through a discussion of the historical change in the domestic life of Jews in the face of the increasing Nazification of the public space. Focusing on the commemorative and mnemonic function of the photos, the article concludes by addressing their constitutive role in personal narratives as a private lieu de mémoire and as the generator of future postmemories.

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