{"id":7070871,"date":"2026-09-30T21:32:48","date_gmt":"2026-09-30T21:32:48","guid":{"rendered":"https:\/\/som2nypost.com\/?p=7070871"},"modified":"2026-09-30T21:32:48","modified_gmt":"2026-09-30T21:32:48","slug":"sexual-violence-imagery-justice-needs-evidence-but-at-whose-expense-womens-enews","status":"publish","type":"post","link":"https:\/\/som2nypost.com\/?p=7070871","title":{"rendered":"Sexual Violence Imagery Justice Needs Evidence, But At Whose Expense? \u2013 Women’s eNews"},"content":{"rendered":"


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Two visions of justice arrived on screens in 2026. In the\u00a0American screenlife thriller\u00a0Mercy<\/em><\/a>, a detective accused of murdering his wife wakes strapped to a chair before an AI judge on a giant screen.<\/p>\n

He has 90 minutes to prove his innocence. As the AI retrieves\u00a0digital traces of his life, it continually recalculates his probability of guilt. Archive, investigation, trial, and sentencing collapse into a single screen-centered apparatus.<\/p>\n

In China,\u00a0The Out-of-Control \u201cBox,\u201d<\/em><\/a>\u00a0a short film from Beijing\u2019s Haidian District Procuratorate based on an actual case of\u00a0kaihe<\/em>\u00a0(\u201copening the box,\u201d a form of doxxing that digs up and exposes people\u2019s private information), reenacts\u00a0a prosecutorial investigation into\u00a0the online exposure of virtual-streamer voice performers and people around them.\u00a0A \u201cprosecutor + data examiner\u201d team connects scattered digital traces on a wall-sized display.<\/p>\n

Both imagine a trial by screening: traces are retrieved, sorted, and connected until a case\u00a0and a person\u2019s guilt\u00a0take shape on screen.<\/p>\n

But evidence does not reveal itself. Someone has to make it.<\/p>\n

A photograph, message, testimony, video, or data point must be captured, preserved, selected, connected, authenticated, and made legible as proof. To say that evidence is made is not to say that it is made up. It is to recognize human labor\u2014archival as well as technological\u2014through which traces come to count as evidence.<\/p>\n

The burden of proof is also a burden of media practice.<\/p>\n

That burden is vividly staged in\u00a0She Said<\/em>\u2014Jodi Kantor and Megan Twohey\u2019s 2019 account of their 2017 investigation into Harvey Weinstein, adapted into a film in 2022, which follows the painstaking work of piecing together testimonial voices, documents, interviews, and corroborating traces into a publicly credible case.<\/p>\n

Feminist scholarship has long traced the gap between speaking about sexual violence and being believed.\u00a0Legal scholar Deborah Tuerkheimer in her 2017 work describes a\u00a0\u201ccredibility discount\u201d<\/a>confronting women who report sexual violence. In their 2023 book, Sarah Banet-Weiser and Kathryn Claire Higgins show how sexual-violence claims circulate through a\u00a0mediated \u201ceconomy of believability.\u201d<\/a><\/p>\n

But who must do the work of making violence and its aftermath evidentiary in the first place?<\/p>\n

For survivors, that work can be\u00a0archival, forensic, logistical, and affective: preserving messages and screenshots, documenting injuries, reconstructing timelines, authenticating images, navigating reporting systems, and repeatedly returning to painful material\u2014as the experiences of\u00a0Shiori It\u014d in\u00a0Black Box Diaries<\/em><\/a>\u00a0and\u00a0Xianzi in her case against Zhu Jun<\/a>\u00a0make strikingly visible.\u00a0<\/p>\n

A 2026 Harvard study\u00a0<\/a>of seven major online platforms found that survivors reporting nonconsensual intimate images still encounter opaque and inconsistent procedures that leave much of the burden of reporting harm on them.\u00a0These are forms of media labor: the work required to make an experience legible as evidence.<\/p>\n

My own research of the history of\u00a0socialist media<\/a>\u00a0offers an unexpected way into this contemporary crisis, not because practices of public accusation in socialist China and AI-generated image-making are the same, or because one led to the other. They did not. But this history makes visible something easy to overlook now: evidence has to take form.<\/p>\n

Long before digital databases,\u00a0making\u00a0tiezheng<\/em>\u00a0(\u201cirrefutable evidence\u201d) in Chinese socialist campaigns involved assembling\u00a0documents, photographs, names, objects, accusations, and stories into what I call an\u00a0incriminating catalogue.<\/p>\n

Known variously as\u00a0zui\u2019eshi<\/em>,\u00a0heishi<\/em>, or\u00a0choushi<\/em>\u2014histories of crimes, \u201cblack histories,\u201d or shameful histories, these catalogues turned fragments and traces of a life into an incriminating whole through accumulation and arrangement.<\/p>\n

But an incriminating catalogue can capture more people than the person it was built to judge. Years ago, while researching case files from socialist China, I encountered nude photographs of a woman in a dossier assembled to incriminate a man.<\/p>\n

Not simply an object in his case, she was one of two women who had accused him. Her testimony helped make the case against him, yet the same evidentiary apparatus made her visible, too\u2014exposed to judgment and shame. She incriminated and was incriminated.<\/p>\n

I will not identify the archive, the case file, or any of the people involved here. That withholding is intentional. Evidence can be indispensable to justice, yet the\u00a0person making evidence can herself become evidence.<\/p>\n

Generative AI twists this bind further. Phones, watches, cars, and homes already produce what\u00a0Andrew Guthrie Ferguson<\/a>\u00a0calls \u201cself-surveillance\u201d: everyday traces that can become incriminating clues against ordinary people. Generative AI introduces the inverse possibility\u2014an incriminating-looking trace of an event that never occurred.<\/p>\n

Governments are responding. In the United States,\u00a0the TAKE IT DOWN Act<\/a>\u00a0requires covered platforms to provide a process for removing qualifying nonconsensual intimate images, including AI-generated ones.<\/p>\n

China requires\u00a0<\/a>explicit and metadata-based identifiers of certain AI-generated and synthetic content. These measures operate in very different legal and political contexts, but both confront a basic problem:\u00a0what happens when an image can no longer be assumed to be a trace of an event?<\/p>\n

However, the answer cannot simply be fewer traces. A message, photograph, recording, or timestamp may be precisely what makes violence evidentiary and accountability possible.\u00a0Women, in particular, can now bear a double burden: confronting persuasive images of sexual acts that never occurred while still struggling to make violence that did happen believable.<\/p>\n

Evidence is necessary. But evidence is neither self-evident nor innocent. Evidence has multiple lives. Its traces are \u201cephemeral remains\u201d: fragile enough to disappear, yet stubbornly recyclable\u2014preserved, copied, recontextualized, and made to speak again.<\/p>\n

Today, there is an abundance of fabricated visibility alongside an unequal burden of making real violence evidentiary. That burden should not fall so heavily on those already harmed.<\/p>\n

The task, then, is not to abandon evidence but to redistribute the labor of making it. Legal, media, research, technological, and care institutions must bear a greater share of the sustained archival, forensic, and logistical work of documenting violence and its aftermath, establishing their evidentiary force, and limiting the unwanted recirculation of intimate traces.<\/p>\n

Justice must make violence evidentiary without requiring those who experienced it to make themselves endlessly available as evidence.<\/p>\n

About the Author: <\/strong><\/em>Belinda Qian He is Assistant Professor of East Asian Cinema and Media Studies at the University of Illinois Urbana-Champaign and a Public Voices Fellow through The OpEd Project. She is working on her forthcoming book,\u00a0Expose and Punish: Cinema and Incriminating Media in an Age of Endless Reckoning.<\/em><\/strong><\/p>\n

<\/p><\/div>\n\n","protected":false},"excerpt":{"rendered":"

Two visions of justice arrived on screens in 2026. In the\u00a0American screenlife thriller\u00a0Mercy, a detective accused of murdering his wife wakes strapped to a chair before an AI judge on a giant screen. He has 90 minutes to prove his innocence. As the AI retrieves\u00a0digital traces of his life, it continually recalculates his probability of […]<\/p>\n","protected":false},"author":1,"featured_media":7070872,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[105396],"tags":[105398,21167,20965,10156,12721,4003,16837,409],"dealstore":[],"offerexpiration":[],"class_list":["post-7070871","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-commentary","tag-enews","tag-evidence","tag-expense","tag-imagery","tag-justice","tag-sexual","tag-violence","tag-womens"],"yoast_head":"\nSexual Violence Imagery Justice Needs Evidence, But At Whose Expense? \u2013 Women's eNews - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/som2nypost.com\/?p=7070871\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sexual Violence Imagery Justice Needs Evidence, But At Whose Expense? \u2013 Women's eNews - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"Two visions of justice arrived on screens in 2026. 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