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001			184919
003			IT-RoAPU
005			20250106150227.0
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007			cr || ||||||||
008			240625t20202020nyu fo d z eng d
020			_a9780231185080 _qprint
020			_a9780231851176 _qPDF
024	7		_a10.7312/mora18508 _2doi
035			_a(DE-B1597)9780231851176
035			_a(DE-B1597)546067
035			_a(OCoLC)1138676974
040			_aDE-B1597 _beng _cDE-B1597 _erda
050		4	_aPN1995.9.G37 _bM67 2020eb
072		7	_aPER004110 _2bisacsh
082	0	4	_a791.43/658405318 _223
084			_aonline - DeGruyter
100	1		_aMorag, Raya _eautore
245	1	0	_aPerpetrator Cinema : _bConfronting Genocide in Cambodian Documentary / _cRaya Morag.
264		1	_aNew York, NY : _bColumbia University Press, _c[2020]
264		4	_c©2020
300			_a1 online resource : _b20 film stills
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
490	0		_aNonfictions
505	0	0	_tFrontmatter -- _tCONTENTS -- _tPREFACE -- _tACKNOWLEDGMENTS -- _tABBREVIATIONS -- _t1. DEFINING PERPETRATOR CINEMA -- _t2. POST– KHMER ROUGE CAMBODIAN CINEMA AND THE BIG PERPETRATORS: RECONCILIATION OR RESENTMENT? -- _t3. PERPETRATORHOOD PARADIGMS: THE DUEL AND MORAL RESENTMENT -- _t4. GENDERED GENOCIDE: THE FEMALE PERPETRATOR, FORCED MARRIAGE, AND RAPE -- _tEPILOGUE: THE ERA OF PERPETRATOR ETHICS -- _tNOTES -- _tFILMOGRAPHY -- _tBIBLIOGRAPHY -- _tINDEX
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aPerpetrator 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.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 25. Jun 2024)
650		0	_aDocumentary films _zCambodia _xHistory and criticism.
650		0	_aGenocide in motion pictures.
650		0	_aGenocide _zCambodia.
650		0	_aMass murderers _zCambodia _xPsychology.
650		0	_aPolitical atrocities _zCambodia.
650		7	_aPERFORMING ARTS / Film / Genres / Documentary. _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.7312/mora18508
856	4	0	_uhttps://www.degruyter.com/isbn/9780231851176
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780231851176/original
942			_cEB
999			_c184919 _d184919