ABSTRACT This article considers amateur images that came out of Indian occupied Kashmir during the summer of 2016. These pictures, circulated on Facebook and Twitter, documented the human cost of India’s use of pellet guns for anti-protest crowd dispersal, a decision that led to the gruesome blindings and wounding of Kashmiris. Pictures of pellet gun victims sparked outrage online as they spread across a social media already saturated with several competing visions of Kashmir’s past, present, and future. Countless images of maimed Kashmiris entered a visual field structured by the Indian state’s pervasive surveillance of Kashmiri aspirations for azaadi. Writing in the wake of Third Cinema’s vision of the camera as a weapon, this piece considers the relationship between the insurgent’s right to look and right to maim summoned by the liberal state. Reflecting on the significance of particular networks of circulation, registers of representation, and forms of enunciation, I offer a rethinking of documentation, documentary images, and ways of seeing in Kashmir.

中文翻译：

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相机是武器：克什米尔的观光方式

摘要本文考虑了2016年夏季印度占领的克什米尔地区散发出的业余图像。这些图片在Facebook和Twitter上散发，记录了印度使用颗粒枪进行反抗议人群散布的人为代价，这一决定导致了克什米尔人令人毛骨悚然的刺眼和伤痕。当散弹枪受害者的照片散布在已经充斥着克什米尔过去，现在和未来的若干竞争景象的社交媒体上时，在网上引发了愤怒。无数张残破的克什米尔人的照片进入了一个视野，这一视野由印度国家对克什米尔人对azaadi愿望的广泛监视构成。在第三电影院将照相机视为武器的构想之后，这篇文章考虑了叛乱分子的自由看护权与自由权之间的关系。