Kameli is not only interested in deconstructing the existing image archive, she also insists on the presence of a counter-archive, one less public but nevertheless crucial. She renders visible women who themselves produced representations, such as: Louisette Ighilahriz, and an FLN militant who recruited women to sew Algerian flags for the Independence Day celebration; Louiza Ammi Sid, who worked throughout the Black Decade as a photojournalist; Marie-José Mondzain, a French philosopher of the image born in Algiers whose motherwas from a well-established Jewish Algerian family and whose father was a Polish artist, a communist who escaped the Holocaust; and the first Algerian female filmmaker andnovelist, Assia Djebar.