Killer Images

Killer Images : Documentary Film, Memory and the Performance of Violence

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Cinema has long shaped not only how mass violence is perceived but also how it is performed. Today, when media coverage is central to the execution of terror campaigns and news anchormen serve as embedded journalists, a critical understanding of how the moving image is implicated in the imaginations and actions of perpetrators and survivors of violence is all the more urgent. If the cinematic image and mass violence are among the defining features of modernity, the former is significantly implicated in the latter, and the nature of this implication is the book's central focus. This book brings together a range of newly commissioned essays and interviews from the world's leading academics and documentary filmmakers, including Ben Anderson, Errol Morris, Harun Farocki, Rithy Phan, Avi Mograbi, Brian Winston, and Michael Chanan. Contributors explore such topics as the tension between remembrance and performance, the function of moving images in the execution of political violence, and nonfiction filmmaking methods that facilitate communities of survivors to respond to, recover, and redeem a history that sought to physically and symbolically annihilate themshow more

Product details

  • Paperback | 240 pages
  • 154.94 x 233.68 x 25.4mm | 544.31g
  • Columbia University Press
  • New York, United States
  • English
  • B&W Illus.: 15,
  • 0231163355
  • 9780231163354
  • 581,736

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Highly recommended. Choiceshow more

About Joram Ten Brink

Joshua Oppenheimer is a filmmaker based in London and Copenhagen. His most recent film is The Act of Killing (2012). He is a founding member of the filmmaking collaboration Vision Machine, with whom he worked for over a decade with militias, death squads and their victims to explore the relationship between political violence and the public imagination. He was a senior researcher on the AHRC Genocide and Genre project at the University of Westminster, and is the co-editor of Acting on AIDS: Sex, Drugs and Politics (1997).show more

Table of contents

AcknowledgmentsNotes on ContributorsIntroduction, by Joram ten Brink and Joshua Oppenheimer(De)activating EmpathyPublicity and Indifference: Media, Surveillance and 'Humanitarian Intervention', by Thomas KeenanShooting with Intent: Framing Conflict, by Alisa LebowImmersion (2009), by Harun FarockiAnaesthetising the Image: Immersion, Harun Farcocki, by Kodwo EshunRevisiting Rocha's 'Aesthetics of Violence', by Michael ChananMemory of Violence: Visualising TraumaCa va de soi: The Visual Representation of Violence in the Holocaust Documentary, by Brian WinstonScreen Memory in Waltz with Bashir, by Garrett StewartAnimating Trauma: Waltz with Bashir, David Polonsky, by Joram ten BrinkSpaces of Violence: History, Horror and the Cinema of Kiyoshi Kurosawa, by Adam LowensteinOn Historical Violence and Aesthetic Form: Jean-Luc Godard's Allemagne 90 Neuf Zero, by Daniel MorganBattle for History: Appropriating the Past in the PresentSubverting Dominant Historical Narratives: Avenge But One of My Two Eyes, Avi Mograbi, by Joram ten BrinkRe-enactment, the History of Violence and Documentary Film, by Joram ten BrinkInterpreting Jeremy Deller's The Battle of Orgreave, by Alice CorreiaRemediating Genocidal Images into Artworks: The Case of the Tuol Sleng Mug Shots, by Stephanie BenzaquenScreening the 1965 Violence, by Ariel HeryantoPerforming ViolencePerpetrators' Testimony and the Restoration of Humanity: S21, Rithy Panh, by Joshua OppenheimerThe Killer's Search for Absolution: Z32, Avi Mograbi, by Joram ten BrinkImpunity, by Benedict AndersonShow of Force: A Cinema-seance of Power and Violence in Sumatra's Plantation Belt, by Joshua Oppenheimer and Michael UwemedimoMisunderstanding Images: Standard Operating Procedure, Errol Morris, by Joshua OppenheimerIndexshow more
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