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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. Raya Morag analyzes how Post¿Khmer Rouge Cambodian documentarians propose a direct confrontation between the first-generation survivor and the perpetrator of genocide.
List of 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
About the author
Raya Morag is associate professor of cinema studies at the Hebrew University of Jerusalem. She is author of Defeated Masculinity: Post-Traumatic Cinema in the Aftermath of War (2009) and Waltzing with Bashir: Perpetrator Trauma and Cinema (2013).
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. Raya Morag analyzes how Post–Khmer Rouge Cambodian documentarians propose a direct confrontation between the first-generation survivor and the perpetrator of genocide.
Additional text
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.
