The caption or label becomes more than a guide in re-presentations of events. Here, in two identical images, one could imagine bending or warping, skewing the perception of what happened, or is happening in the depicted. By variously describing the contents of the image, fictions that support it, might be drawn out, or overlayed, so that interpretation overtakes actual content. The ambiguous reading therefore is one of the ways that 'detournement' found escape routes, or entry points, in the organisation of iconic images' power to persuade. Advertising, spectacle and ideology co-incide. The detourned image resists this process by a number of tactics; tearing up the image, re-aligning by photo-montage [ think of John Heartfield's anti-nazi works] or re-writing captions that contradict expectation or 'advertise' an alternative ideology, one that attacks the organisation of power.