By the end of 1991, the United States had not quite completed the restoration of the prestige of its armed forces. The occasion was the triumph of American arms as part of a United Nations exercise intended to restore the territorial integrity of the sheikdom of Kuwait, which had been violated by its truculent neighbor, Iraq. Curiously, photography was at the core of the adventure. For decades, World War II had been endlessly refought on American television screens, a stream of visual nostalgia for “the good war” (as Studs Terkel had named it) made possible by archival photographic images of a quite high order. But the image of victorious Americans against Axis heavies had been sullied by the Vietnam War, “the living room war” that had suffered a terribly bad press at least in part as a result of incessant, bloody, and finally fruitless combat that appeared as daily images on the nation's TV screens.