Perpetrator Cinema
Confronting Genocide in Cambodian Documentary
«This book is far more than an illuminating analysis of Cambodian postgenocide cinema, valuable as that is, given the Pol Pot regime’s destruction of the country’s film industry, its artists, and its entire film archive, along with 1.7 million Cambodian lives. Morag ushers us forward to view unique interactions and confrontations between first-generation survivors and top- and lower-level Khmer Rouge perpetrators, made possible by the regime’s overthrow in 1979, its remnants’ defeat and surrender in 1999, and the establishment of the UN-sponsored Khmer Rouge tribunal in 2006. The book offers front-row seats to a new genre of post-Holocaust global documentary film, with innovative approaches to the study of genocide, trauma, and gender.»
Ben Kiernan, author of <i>The Pol Pot Regime: Race, Power and Genocide in Cambodia Under the Khmer R
Perpetrator Cinema explores a new trend in the cinematic depiction of genocide that has emerged in Cambodian documentary in the late twentieth- and early twenty-first centuries. While past films documenting the Holocaust and genocides in Yugoslavia, Rwanda, and elsewhere have focused on collecting and foregrounding the testimony of survivors and victims, the intimate horror of the autogenocide enables post-Khmer Rouge Cambodian documentarians to propose a direct confrontation between the first-generation survivor and the perpetrator of genocide. Les mer
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Perpetrator Cinema explores a new trend in the cinematic depiction of genocide that has emerged in Cambodian documentary in the late twentieth- and early twenty-first centuries. While past films documenting the Holocaust and genocides in Yugoslavia, Rwanda, and elsewhere have focused on collecting and foregrounding the testimony of survivors and victims, the intimate horror of the autogenocide enables post-Khmer Rouge Cambodian documentarians to propose a direct confrontation between the first-generation survivor and the perpetrator of genocide. These films break with Western tradition and disrupt the political view that reconciliation is the only legitimate response to atrocities of the past. Rather, transcending the perpetrator's typical denial or partial confession, this extraordinary form of "duel" documentary creates confrontational tension and opens up the possibility of a transformation in power relations, allowing viewers to access feelings of moral resentment.
Raya Morag examines works by Rithy Panh, Rob Lemkin and Thet Sambath, and Lida Chan and Guillaume Suon, among others, to uncover the ways in which filmmakers endeavor to allow the survivors' moral status and courage to guide viewers to a new, more complete understanding of the processes of coming to terms with the past. These documentaries show how moral resentment becomes a way to experience, symbolize, judge, and finally incorporate evil into a system of ethics. Morag's analysis reveals how perpetrator cinema provides new epistemic tools and propels the recent social-cultural-psychological shift from the era of the witness to the era of the perpetrator.
Raya Morag examines works by Rithy Panh, Rob Lemkin and Thet Sambath, and Lida Chan and Guillaume Suon, among others, to uncover the ways in which filmmakers endeavor to allow the survivors' moral status and courage to guide viewers to a new, more complete understanding of the processes of coming to terms with the past. These documentaries show how moral resentment becomes a way to experience, symbolize, judge, and finally incorporate evil into a system of ethics. Morag's analysis reveals how perpetrator cinema provides new epistemic tools and propels the recent social-cultural-psychological shift from the era of the witness to the era of the perpetrator.
Detaljer
- Forlag
- Columbia University Press
- Innbinding
- Innbundet
- Språk
- Engelsk
- ISBN
- 9780231185080
- Utgivelsesår
- 2020
- Format
- 23 x 15 cm
- Priser
- Choice Outstanding Academic Title 2021
Anmeldelser
«This book is far more than an illuminating analysis of Cambodian postgenocide cinema, valuable as that is, given the Pol Pot regime’s destruction of the country’s film industry, its artists, and its entire film archive, along with 1.7 million Cambodian lives. Morag ushers us forward to view unique interactions and confrontations between first-generation survivors and top- and lower-level Khmer Rouge perpetrators, made possible by the regime’s overthrow in 1979, its remnants’ defeat and surrender in 1999, and the establishment of the UN-sponsored Khmer Rouge tribunal in 2006. The book offers front-row seats to a new genre of post-Holocaust global documentary film, with innovative approaches to the study of genocide, trauma, and gender.»
Ben Kiernan, author of <i>The Pol Pot Regime: Race, Power and Genocide in Cambodia Under the Khmer R
«In Perpetrator Cinema, Raya Morag brings her superb intellect and expertise in trauma and Holocaust cinema to this study of groundbreaking films inspired by Cambodia's Year Zero. Morag brilliantly explores why an ethics of moral resentment undergirds the survivor-perpetrator duels in the cinema of Rithy Panh, Thet Sambath and Rob Lemkin, and Guillaume P. Suon, among others, and aptly considers films about sexual violence, among the Khmer Rouge's worst human rights abuses. Documentary scholars and South Asian cinema specialists will find much to praise in this theoretically rich, engrossing work.»
Deirdre Boyle, The New School
«A must resource for students of documentary film and politics . . . Essential.»
Choice
«It is precisely the supranational approach to trauma and perpetratorhood adopted by Morag that makes her work so compelling . . . Perpetrator Cinema is as much a contribution to the philosophical discipline of ethics as it is to film studies and to the studies of the Cambodian genocide.»
Dina Iordanova, Alphaville
«This compelling book will matter as long as mass atrocities persist. Focused on the Cambodian genocide, Morag addresses a new phase in how we confront such events: films where survivors confront perpetrators face-to-face. These confrontations bring the visceral truth borne directly of human encounter to the fore with consequences both intensely personal and profoundly political.»
Bill Nichols, author of <i>Speaking Truths with Film: Evidence, Ethics, Politics in Documentary</i>