Challenging Old and New Images Representing the Cambodian Genocide: The Missing Picture (Rithy Panh, 2013)
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Challenging Old and New Images Representing the Cambodian Genocide: The Missing Picture (Rithy Panh, 2013)

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Challenging Old and New Images Representing the Cambodian Genocide: The Missing Picture (Rithy Panh, 2013)

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dc.contributor.author Sánchez-Biosca, Vicente
dc.date.accessioned 2018-10-22T10:32:50Z
dc.date.available 2018-10-22T10:32:50Z
dc.date.issued 2018
dc.identifier.uri http://hdl.handle.net/10550/67776
dc.description.abstract This article focuses on the images used over four decades to represent the Cambodian genocide in photography, cinema, visual arts and the media as the basis for analyzing the documentary-memoir directed by Rithy Panh, The Missing Picture. First, there is a paucity of images which depict, evoke or allude to the crimes perpetrated by the Khmer Rouge (1975-1979); second, scholars raise objections about whether any image can adequately depict a catastrophic event such as genocide. This article begins by categorizing the Cambodian genocide iconography according to the modality of the visual production. After briefly classifying this visual output in four categories (perpetrator images, liberator images, belated evidential images, and creative imagery), the author questions the challenging visual strategies used in The Missing Picture. Rithy Panh adopts an unexpected and original dispositif in his documentary: an un-realistic imagery based on hand-carved clay figurines placed in a diorama-like setting, as the narrative is sustained by a first-person hypnotic voiceover that evokes the author's childhood memories under the Khmer Rouge rule. By juxtaposing these static figures with propaganda archival footage, Panh introduces an estrangement that paradoxically imbues the film continuum with an emotional tone ideal for conveying affliction. From a figurative perspective, this device avoids mimesis and draws upon a tradition of 'animal stories' combined with animation techniques. Beyond a representational point of view, the originality of The Missing Picture draws on the search of a visual and narrative vocabulary destined to perform an exorcism from trauma; or, from another perspective, a self-therapeutic exercise through art and memory work.
dc.language.iso eng
dc.relation.ispartof Genocide Studies And Prevention: an International Journal, 2018, vol. 12, num. 2, p. 140-164
dc.rights.uri info:eu-repo/semantics/openAccess
dc.source Sánchez-Biosca, Vicente 2018 Challenging Old and New Images Representing the Cambodian Genocide: The Missing Picture (Rithy Panh, 2013) Genocide Studies And Prevention: an International Journal 12 2 140 164
dc.subject Violència en la cinematografia
dc.title Challenging Old and New Images Representing the Cambodian Genocide: The Missing Picture (Rithy Panh, 2013)
dc.type info:eu-repo/semantics/article
dc.date.updated 2018-10-22T10:32:51Z
dc.identifier.doi https://doi.org/10.5038/1911-9933.12.2.1508
dc.identifier.idgrec 128010

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