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Perpetrator Cinema : Confronting Genocide in Cambodian Documentary / Raya Morag.

By: Material type: TextTextSeries: NonfictionsPublisher: New York, NY : Columbia University Press, [2020]Copyright date: ©2020Description: 1 online resource : 20 film stillsContent type:
Media type:
Carrier type:
ISBN:
  • 9780231185080
  • 9780231851176
Subject(s): DDC classification:
  • 791.43/658405318 23
LOC classification:
  • PN1995.9.G37 M67 2020eb
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- CONTENTS -- PREFACE -- ACKNOWLEDGMENTS -- ABBREVIATIONS -- 1. DEFINING PERPETRATOR CINEMA -- 2. POST– KHMER ROUGE CAMBODIAN CINEMA AND THE BIG PERPETRATORS: RECONCILIATION OR RESENTMENT? -- 3. PERPETRATORHOOD PARADIGMS: THE DUEL AND MORAL RESENTMENT -- 4. GENDERED GENOCIDE: THE FEMALE PERPETRATOR, FORCED MARRIAGE, AND RAPE -- EPILOGUE: THE ERA OF PERPETRATOR ETHICS -- NOTES -- FILMOGRAPHY -- BIBLIOGRAPHY -- INDEX
Summary: 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.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780231851176

Frontmatter -- CONTENTS -- PREFACE -- ACKNOWLEDGMENTS -- ABBREVIATIONS -- 1. DEFINING PERPETRATOR CINEMA -- 2. POST– KHMER ROUGE CAMBODIAN CINEMA AND THE BIG PERPETRATORS: RECONCILIATION OR RESENTMENT? -- 3. PERPETRATORHOOD PARADIGMS: THE DUEL AND MORAL RESENTMENT -- 4. GENDERED GENOCIDE: THE FEMALE PERPETRATOR, FORCED MARRIAGE, AND RAPE -- EPILOGUE: THE ERA OF PERPETRATOR ETHICS -- NOTES -- FILMOGRAPHY -- BIBLIOGRAPHY -- INDEX

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

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.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Jun 2024)