How are images, emotions, and international politics connected? This article develops a theoretical framework contributing to visuality and emotions research in International Relations. Correcting the understanding that images cause particular emotional responses, this article claims that emotionally laden responses to images should be seen as performed in foreign policy discourses. We theorise images as objects of interpretation and contestation, and emotions as socially constituted rather than as individual ‘inner states’. Emotional bundling – the coupling of different emotions in discourse – helps constitute political subjectivities that both politicise and depoliticise. Through emotional bundling political leaders express their experiences of feelings shared by all humans, and simultaneously articulate themselves in authoritative and gendered subject positions such as ‘the father’. We illustrate the value of our framework by analysing the photographs of Alan Kurdi, a three-year-old Syrian-Kurdish boy who drowned in September 2015. ‘Kurdi’ became an instant global icon of the Syrian refugee crisis. World leaders expressed their personal grief and determination to act, but within a year, policies adopted with direct reference to Kurdi's tragic death changed from an open-door approach to attempts to stop refugees from arriving. A discursive-performative approach opens up new avenues for research on visuality, emotionality, and world politics.

This article is a historical examination of the use of photography in the informational and fundraising strategies of humanitarian organizations. Drawing on archival research and recent scholarship, it shows that the figure of the dead or suffering child has been a centrepiece of humanitarian campaigns for over a century and suggests that in earlier eras too, such photos, under certain conditions, could “go viral” and achieve iconic status. Opening with last year's photo campaign involving the case of 3-year-old Syrian refugee Alan Kurdi, whose body washed up on a Turkish beach near Bodrum in early September 2015, the article draws on select historical examples to explore continuities and ruptures in the narrative framing and emotional address of photos depicting dead or suffering children, and in the ethically and politically charged decisions by NGO actors and the media to publish and distribute such images. We propose that today, as in the past, the relationship between media and humanitarian NGOs remains symbiotic despite contemporary claims about the revolutionary role of new visual technologies and social media.