DOCSLIB.ORG

John Vink” Arranging with the Notice Numbers *Note

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
John Vink” Arranging with the Notice Numbers *Note Bophana Audiovisual Resource Center Archives Department Collection of “John Vink” Arranging with the notice numbers *Note: You cannot click the title to entry the Bophana Center database due to the Center using intranet. All right reserved by Bophana Center Archive Image Title Versions Date Collection Duration Type Reference [Cambodia 1989-2003] 1989-2003 John Vink VIN_IF_001930 Cambodian Elections 2003 2003 John Vink VIN_IF_001936 [Audiovisual Production] 1999-2002 John Vink VIN_IF_001938 1 Archive Image Title Versions Date Collection Duration Type Reference [Angkor Temples] 1989-1991 John Vink VIN_IF_001939 [Being 20 years old in Phnom Penh] 1999-2002 John Vink VIN_IF_001940 [Series of Buddhism] 1989-2002 John Vink VIN_IF_001941 [Khmer Boxing Fever 1/3] 1999-2003 John Vink VIN_IF_001942 [Khmer Boxing Fever 2/3] 2004-2005 John Vink VIN_IF_001943 [Khmer Boxing Fever 3 sur 3] 2005 John Vink VIN_IF_001944 [Cambodian trafic] 1989-2002 John Vink VIN_IF_001946 [Series of dances] 1989-2000 John Vink VIN_IF_001947 2 Archive Image Title Versions Date Collection Duration Type Reference [Sports and leisure] 1989-2002 John Vink VIN_IF_001948 [Series of weddings] 1989-2003 John Vink VIN_IF_001949 [Khmer refugees 1 in 2] 1989 John Vink VIN_IF_001950 [Khmer refugees 2 in 2] 1989-1991 John Vink VIN_IF_001951 [Series of health] 1989-1999 John Vink VIN_IF_001952 [Cambodian School Children] 1989-2000 John Vink VIN_IF_001953 [Series of Takeo] 1989-2003 John Vink VIN_IF_001954 [Boats Competition in Tonle Sap River] 1989-2004 John Vink VIN_IF_001955 3 Archive Image Title Versions Date Collection Duration Type Reference [Young Cambodian Migrants] 2003 John Vink VIN_IF_001956 [The 20-May Day] 1989 John Vink VIN_IF_001958 [Series of Land Mines] 1989-2001 John Vink VIN_IF_001959 [Cambodian Personalities] 1991-2004 John Vink VIN_IF_001960 [The sidewalks of Phnom Penh 1 in 2] 1989-2002 John Vink VIN_IF_001961 [The sidewalks of Phnom Penh 1 in 2] 2002 John Vink VIN_IF_001962 [Shooting The Land of the Wandering Souls] 1999-2002 John Vink VIN_IF_001963 4 Archive Image Title Versions Date Collection Duration Type Reference [Shooting S21, The Khmer Rouge Killing Machine 1 in 3] 1989-2002 John Vink VIN_IF_001964 [Shooting S21, The Khmer Rouge Killing Machine 2 in 3] 2002 John Vink VIN_IF_001966 [Shooting S21, The Khmer Rouge Killing Machine 3 in 3] 2002 John Vink VIN_IF_001967 [Shooting The Burnt Theatre] 2003 John Vink VIN_IF_001968 Sam Rainsy Party Demonstration 2002-2003 John Vink VIN_IF_001969 [Bassac Slums 1 in 4] 2000-2001 John Vink VIN_IF_001971 [Bassac Slums 2 in 4] 2001-2006 John Vink VIN_IF_001972 [Bassac Slums 3 in 4] 2006 John Vink VIN_IF_001973 5 Archive Image Title Versions Date Collection Duration Type Reference [Bassac Slums 4 in 4] 2006 John Vink VIN_IF_001975 [Tanpa Bloc Slums] 2002-2006 John Vink VIN_IF_001976 [The search for antiques] 2006 John Vink VIN_IF_001977 [Former War Zone] 2001-2005 John Vink VIN_IF_001978 [The Search for Gems] 2001-2002 John Vink VIN_IF_001979 [Life in Cambodian high plateau] 2001 John Vink VIN_IF_001980 [Demonstration to Find Solutions to Land Issues 1 in 5] 2001-2006 John Vink VIN_IF_001981 [Series of Kampong Cham] 2000 John Vink VIN_IF_001982 6 Archive Image Title Versions Date Collection Duration Type Reference [Demonstration to Find Solutions to Land Issues 2 in 5] 1989-2006 John Vink VIN_IF_001983 [Demonstration to Find Solutions to Land Issues 3 in 5] 2000-2001 John Vink VIN_IF_001984 [Demonstration to Find Solutions to Land Issues 4 in 5] 2001 John Vink VIN_IF_001985 [Series of Rice Harvest] 2000-2005 John Vink VIN_IF_001986 [Demonstration to Find Solutions to Land Issues 5 in 5] 2006 John Vink VIN_IF_001987 [Land Issue on Stung Meanchey Garbage Dump] 2003 John Vink VIN_IF_001988 [Land Issue in Kampong Speu] 2006 John Vink VIN_IF_001989 [Terre Rouge Eviction] 2006 John Vink VIN_IF_001990 7 Archive Image Title Versions Date Collection Duration Type Reference [ Series of Woods] 1989-2003 John Vink VIN_IF_001991 Making of S-21 Khmer 2011 John Vink VIN_VI_003046 00:58:58 The Khmer Rouge trial : End of Khmer Rouge movement 1999-2008 John Vink VIN_IF_003064 Khmer Rouge Trial : Commemoration 1999-2009 John Vink VIN_IF_003065 The Khmer Rouge Trial : Memorial Sites 2005-2007 John Vink VIN_IF_003066 The Khmer Rouge trial : Tuol Sleng 1999-2009 John Vink VIN_IF_003067 The Khmer Rouge trial : Death of Ta Mok and cambodian muslims 2004-2006 John Vink VIN_IF_003149 8 Archive Image Title Versions Date Collection Duration Type Reference The Khmer Rouge trial : At the Extraordinary Chambers in the Courts of 2005-2009 John Vink VIN_IF_003150 Cambodia 1/2 The Khmer Rouge trial : At the Extraordinary Chambers in the Courts of 2009 John Vink VIN_IF_003189 Cambodia 2/2 Sea Wall filming Slide Show 2007 John Vink VIN_VI_003338 00:01:20 Audiovisual Heritage World Day 2008 John Vink VIN_IF_003339 The Quest for Land English John Vink VIN_VI_003355 00:25:38 Archive Categories Archives titles Total Amounts Videos Ima. albums Audios Books John Vink 3 59 0 0 62 9 .
Load more

Recommended publications
  • Recovering Life After Social Death in Post-Genocide Cambodia
    - The UNESCO Slave Route Project: Healing the Wounds of Slavery - Life After/Ward: Recovering Life After Social Death in Post-Genocide Cambodia Khatharya Um That which wounds me has no name- Rithy Panh1 1 Rithy Panh and Christophe Bataille, The Elimination (New York: Other Press, 2013), 4 - Life After/Ward: Recovering Life After Social Death in Post-Genocide Cambodia - Introduction When asked if he ever dreams of his tortured victims, Kaing Guek Eav, better known by his nom de guerre “Duch,” who oversaw the Tuol Sleng S-21 extermination center where at least 12,000 people were tortured and killed, said unequivocally: “No. Never.”2 The survivors of the genocidal regime of which he was a leading figure, however, are not afforded that luxury. Over four decades in the aftermath, in Cambodia and in the diaspora, genocidal haunting continues to torment not only the survivors but also the postgenocide generations. In commemoration of the 45th anniversary of the Khmer Rouge genocide during which almost a quarter of the country’s population perished in less than four years, this paper reflects on the afterlife of genocide. It illuminates the ways in which genocidal haunting continues to unfold in the postgenocide everyday, and the struggles of Cambodians to make meaning of, and work through, this historical trauma. Attentive to the gaps and tensions between state rhetoric and survivors’ agency, it interrogates the possibilities and limits of international tribunals in delivering justice, reconciliation and, above all, healing in the genocide aftermath, and reflects on acts of repair, big and small, public and private, that individuals and communities have undertaken to transcend, if not heal, this collective wounding.
    [Show full text]
  • Stephanie Cong an Examination of Forced Marriages and Their Impact Under the Khmer Rouge SEA10A 2016 Prof. Penelope Edwards & GSI Uyen 12/16/2016
    Stephanie Cong An Examination of Forced Marriages and their Impact Under the Khmer Rouge SEA10A 2016 Prof. Penelope Edwards & GSI Uyen 12/16/2016 I. Introduction In 1975, the Khmer Rouge, also known as the Communist Party of Kampuchea, seized power in Cambodia.1 The Khmer Rouge attempted to transform Cambodia into a classless society — they abolished basic institutions from schools to churches, and replaced these with farms, prisons, and education camps.2 Civilians were forced to move from their homes to participate in agricultural work, and many died during this process.3 The Khmer Rouge also removed concepts such as money and free markets, and furthermore, discouraged the display of affection, humor, or pity, even through familial relations — the party wanted full obedience and respect towards Angkar, a name the party used to refer to itself.4 Because of this, the Khmer Rouge put forced marriage into practice, and also used this as a method to grow the population, their potential workforce.5 Nearly a quarter of Cambodian citizens were forced into marriages under Khmer Rouge, and these marriages had many adverse effects on civilians.6 Through this paper, I will show that forced marriages led to abnormal and abusive dynamics between husband and wife, forced pregnancy and rape, Post-Traumatic Stress Disorder (PTSD), and shame or the inability to remarry. These effects of forced marriages have lasted long beyond the regime of the Khmer Rouge, and these actions are now being tried as crimes against humanity.7 In order to show these adverse effects of forced marriages within the Khmer Rouge regime, the paper will be broken down into seven sections.
    [Show full text]
  • Rithy Panh” Arranging with the Notice Numbers *Note
    Bophana Audiovisual Resource Center Archives Department Collection of “Rithy Panh” Arranging with the notice numbers *Note: You cannot click the title to entry the Bophana Center database due to the Center using intranet. All right reserved by Bophana Center Archive Image Title Versions Date Collection Duration Type Reference Cambodia : between war and peace French, Khmer 1992 Rithy Panh RPA_VI_000296 01:05:15 Bophana : a cambodian tragedy French, English, Khmer 1996 Rithy Panh RPA_VI_000297 00:59:00 Spotlights on a massacre: 10 films against 100 million antipersonnel land French, English, Khmer, Deutsch/ Allemande 1997 Rithy Panh RPA_VI_000298 00:04:47 mines 1 Archive Image Title Versions Date Collection Duration Type Reference S21: The Khmer Rouge Death Machine French, English, Khmer 2002 Rithy Panh RPA_VI_000299 01:40:52 The land of the wandering souls French, English, Khmer 1999 Rithy Panh RPA_VI_000300 01:42:41 Let the boat break its back, Let the junk French, French 2000 Rithy Panh RPA_VI_000870 01:34:06 break open The Tan's Family French, Khmer 1995 Rithy Panh RPA_VI_000871 00:31:56 [Rice People] French, English, Khmer, Deutsch/ Allemande, Italian 1994 Rithy Panh RPA_VI_001607 02:04:33 Site 2 French, English, Khmer 1989 Rithy Panh RPA_VI_001191 01:31:21 2 Archive Image Title Versions Date Collection Duration Type Reference The Burnt Theatre French, English, Khmer 2005 Rithy Panh RPA_VI_001231 01:23:20 Paper cannot wrap up embers French, English, Khmer 2006 Rithy Panh RPA_VI_001437 01:27:03 The people of Angkor French, English,
    [Show full text]
  • A Requiem for Cambodia Premieres in the US 40 Years Since the Cambodian Genocide Powerful New Work by Rithy PANH and HIM Sophy, Featuring Music, Visuals, And
    Bangsokol: A Requiem for Cambodia premieres in the US 40 years since the Cambodian genocide Powerful new work by Rithy PANH and HIM Sophy, featuring music, visuals, and movement, on stage in New York and Boston in December 2017 “…a reassuring light after utter darkness, a promise of resurgence…a moving, cogent experience…” – The Sydney Morning Herald FOR IMMEDIATE RELEASE PHNOM PENH, 16 NOVEMBER 2017 – Oscar-nominated director Rithy PANH (The Missing Picture) and internationally acclaimed composer HIM Sophy, both survivors of the Khmer Rouge, join forces to create Bangsokol: A Requiem for Cambodia. An extraordinary new piece featuring music, film, movement, and voice, it pays tribute to the two million killed in the nation’s genocide (1975-1979). “Bangsokol is a vital act of memory,” says PANH. “It is an attempt to give dignity to the dead; to reconcile with our own past; to give a face and a name to the victims, to give their souls peace.” This requiem, unprecedented in form and composition, features ceremonial elements from bangsokol - Buddhist funeral rites performed to give rest to the spirits of the dead, as well as traditional Cambodian music and Western classical forms. After a successful world premiere at the Melbourne Festival in October, Bangsokol: A Requiem for Cambodia comes to the US this winter. On 15 and 16 December, it takes to the stage of the Brooklyn Academy of Music (BAM) as part of the Next Wave Festival 2017, and on 19 and 20 December, at Boston’s ArtsEmerson. Performances in Europe and Asia will follow in 2018.
    [Show full text]
  • A Requiem for Cambodia to Premiere
    Bangsokol: A Requiem for Cambodia to premiere nearly 40 years after the Cambodian genocide Powerful new work by Rithy PANH and HIM Sophy, featuring music, visuals, and movement, debuts at the Melbourne Festival on 13 October 2017 FOR IMMEDIATE RELEASE PHNOM PENH, 24 2017 – Oscar-nominated director Rithy PANH (The Missing Picture) and acclaimed composer HIM Sophy – two survivors of the Khmer Rouge – join forces to create Bangsokol: A Requiem for Cambodia. An extraordinary new piece featuring music, film, movement, and voice, it pays tribute to the two million killed in the nation’s genocide (1975-1979). “Bangsokol is a vital act of memory,” says PANH. “It is an attempt to give dignity to the dead; to reconcile with our own past; to give a face and a name to the victims, to give their souls peace.” This new requiem, unprecedented in form and composition, features ceremonial elements from bangsokol, Buddhist funeral rites performed to give rest to the spirits of the dead, as well as traditional Cambodian music and Western classical forms. The world premiere of Bangsokol will be presented at the Melbourne Festival on October 13 and 14, 2017 before being seen in New York and Boston in December, and in Europe and Asia in 2018. The 65-minute piece, commissioned by non-profit organization Cambodian Living Arts (CLA), with co-commissioner Asia TOPA / Arts Centre Melbourne, will return to Phnom Penh in 2019 – 40 years since the fall of the Khmer Rouge. The narrative of Bangsokol begins in the heavens and moves to a countryside funeral. It extends into remembrance of the horrors of the Khmer Rouge period, and culminates with the central Buddhist rite for the deceased, bringing peace and the acceptance of impermanence.
    [Show full text]
  • La Parole Filmée in Rithy Panh's the Missing Picture
    MEDIATION AND REMEDIATION: LA PAROLE FILMÉE IN RITHY PANH’S THE MISSING PICTURE (L’IMAGE MANQUANTE) Leshu Torchin The Missing Picture, where any production of memory can both preserve and veil lives. In L’image manquante (The Missing Picture, 2013), Rithy video footage, and painted clay figurines in stunningly Panh continues his exploration of the Cambodian genocide crafted—often multimedia—dioramas, the documentary in a manner that is both harrowing and lyrical, carrying on integrates Panh’s personal story with ruminations on media- the innovations he brought to his earlier films on the subject. tion, trauma, and history. Furthermore, the film reaches Combining Khmer Rouge propaganda films, contemporary beyond individual narrative and reflection, functioning as cinematic witness as it counters silences, fills historical gaps, Film Quarterly, Vol. 68, Number 1, pp. 32–41, ISSN 0015-1386, electronic ISSN 1533-8630. and provides a testimony that is polyphonic and collective. © 2014 by The Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through Through his deployment of clips from his earlier films, the University of California Press’s Rights and Permissions website, http://www. Panh creates a sedimented text, suggestive of a past that ucpressjournals.com/reprintinfo.asp. DOI: 10.1525/FQ.2014.68.1.32. refuses to remain passed and of the magnitude of history, 32 FALL 2014 where any production of memory can both preserve and veil Rouge leaders to trial. Kaing Guek Eav, the commander of the lives of others. the S-21 prison, who was a subject of Panh’s film Duch, le Panh begins his story with the words, “In the middle of maître des forges de l’enfer (Duch, Master of the Forges of life, childhood returns,” as a camera bobs in the crashing Hell, 2011), was sentenced in 2010.
    [Show full text]
  • The Perpetrator's Mise-En-Scène: Language, Body, and Memory in the Cambodian Genocide
    JPR The Perpetrator’s mise-en-scène: Language, Body, and Memory in the Cambodian Genocide Vicente Sánchez-Biosca Abstract: Rithy Panh’s film S-21. The Khmer Rouge Killing Machine (2003) was the result of a three- year shooting period in the Khmer Rouge centre of torture where perpetrators and victims exchanged experiences and re-enacted scenes from the past under the gaze of the filmmaker’s camera. Yet, a crucial testimony was missing in that puzzle: the voice of the prison’s director, Kaing Guek Eav, comrade Duch. When the Extraor- dinary Chambers in the Courts of Cambodia (ECCC) were finally established in Phnom Penh to judge the master criminals of Democratic Kampuchea, the first to be indicted was this desk criminal. The filmDuch, Master of the Forges of Hell (Panh, 2011) deploys a new confrontation – an agon, in the terminology of tragedy – between a former perpetrator and a former victim, seen through cinema language. The audiovisual document registers Duch’s words and body as he develops his narrative, playing cunningly with contrition and deceit. The construction of this narrative and its deconstruction by Panh can be more fully understood by comparing some film scenes with other footage shot before, during and after the hearings. In sum, this ‘chamber film’ permits us to analyse two voices: that of the perpetrator, including his narrative and body language; and the invisible voice of the survivor that expresses itself through editing, sound effects, and montage. Keywords: Perpetrator, audiovisual testimony, body language, cinema, Khmer Rouge, Cambodia Gémir, pleurer, prier est également lâche. Fais énergiquement ta longue et lourde tâche Dans la voie où le Sort a voulu t’appeler.
    [Show full text]
  • Cinema and Cultural Diffusion Department of Cambodia
    Bophana Audiovisual Resource Center Archives Department Collection of “Department of Cinema and Diffusion (DDC)” Arranging with the notice numbers *Note: You cannot click the title to entry the Bophana Center database due to the Center using intranet. All right reserved by Bophana Center Archive Image Title Versions Date Collection Duration Type Reference [Visit of Prince Norodom Sihanouk to China and Department of Cinema and Diffusion (DDC) DDC_VI_000057 00:04:51 also his visit to the water festival in Phnom Penh] [Newsreels during the Lon Nol regime] Department of Cinema and Diffusion (DDC) DDC_VI_000058 00:18:04 [Cooperative Work in the Rice Field] Department of Cinema and Diffusion (DDC) DDC_VI_000066 00:14:40 1 Archive Image Title Versions Date Collection Duration Type Reference [Youth workers] Department of Cinema and Diffusion (DDC) DDC_VI_000101 00:09:57 [Newsreels n°123 - n°34] Department of Cinema and Diffusion (DDC) DDC_VI_000145 00:20:21 [Extraordinary Meeting of the Communist Party Department of Cinema and Diffusion (DDC) DDC_VI_000146 00:25:58 of Kampuchea] [B40 Cannon] Department of Cinema and Diffusion (DDC) DDC_VI_000175 00:12:42 [Newsreel n°157] Department of Cinema and Diffusion (DDC) DDC_VI_000221 00:18:57 [The official Visit of H.E. Mr. Lee Kuan Yew to Department of Cinema and Diffusion (DDC) DDC_VI_000227 00:18:48 Cambodia] [After the fighting between the Khmer Rouge Department of Cinema and Diffusion (DDC) DDC_VI_000239 00:07:05 and the Vietnamese military] 2 Archive Image Title Versions Date Collection Duration
    [Show full text]
  • Memory of Nations: Democratic Transition Guide” (ISBN 978-80-86816-39-5)
    MEMORY OF NATIONS Democratic Transition Guide [ The Cambodian Experience ] CONTENTS AUTHORS TRANSFORMATIONS OF POLITICAL SYSTEMS . 3 PECHET MEN Pechet Men has worked with the Documentation Center of CONSOLIDATING THE STATE SECURITY Cambodia (DC-Cam), Phnom Penh, for almost a decade APPARATUS .......................... 6 from a Volunteer to Field Investigator and has published ex- tensively on Khmer Rouge survivors’ accounts and articles, [REGIME] ARCHIVES ................... 10 locally and internationally. LUSTRATION ......................... 13 KOSAL PATH Assistant Professor of Political Science at the Brooklyn Col- INVESTIGATION AND PROSECUTION lege of The City University of New York, USA. Researcher for OF THE CRIMES OF THE REGIME .......... 16 the Cambodian Genocide Program at Yale University and the Documentation Center of Cambodia (1995–2000). His REHABILITATION OF VICTIMS ............. 21 main teaching and research interests are international rela- tions, genocide, human rights and transitional justice. EDUCATION AND PRESERVATION OF SITES OF CONSCIENCE ....................... 26 BERND SCHAEFER Senior Scholar with the Woodrow Wilson International TIMELINE OF THE MAJOR EVENTS ......... 31 Center’s Cold War International History Project (CWIHP), Professorial Lecturer at George Washington University; both SOURCES USED AND FURTHER READING . 33 in Washington D.C. Visiting Professor at the Pannasastra Uni- versity in Phnom Penh, Cambodia. SAVINA SIRIK PhD candidate in Peace and Development Research at the School of Global Studies, University of Gothenburg, Sweden. She joined the Documentation Center of Cambo- dia (DC-Cam) in 2004 and since then she progressed from working as a Field Investigator to a Director of Museum of Memory (2013) and a Team Leader of the Transitional Justice Program (2016–2017). She is the author of the monograph Everyday Experience of Genocide Survivors in Landscapes of Violence in Cambodia (DC-Cam, 2016).
    [Show full text]
  • Witness and Recuperation: Cambodia's New Documentary Cinema
    Concentric: Literary and Cultural Studies 39.1 March 2013: 7-30 Witness and Recuperation: Cambodia’s New Documentary Cinema Annette Hamilton School of Arts and Media University of New South Wales, Australia Abstract The documentary cinema of Rithy Panh has played a significant role in the effort to overcome the traumatic heritage of the Khmer Rouge era in Cambodia (1975-79). His cinema of witness advances claims for the restoration of memory as an ethical imperative, and his films have provided encouragement for the claims of justice for survivors. Witness and re- enactment are central to his mode of address. A new movement has emerged in recent years from a younger generation whose work continues to explore the value of documentary in challenging the prevailing cultural amnesia and seeks to recuperate the connection between the present and the past. This paper discusses the work of some of the emerging documentary makers, highlighting their distinctive voices and visions, their debt to the style and framework of Rithy Panh’s cinema, as well as new perspectives which seek to build on the past through the exploration of the value of the artists and intellectuals who preceded them. Keywords documentary, Cambodia, witness, cultural amnesia, memory, trauma, Genocide Studies 8 Concentric 39.1 March 2013 We have art so we are not defeated by the truth. —Friedrich Nietzsche Kritische Studienausgabe Cambodia’s struggle to overcome the traumatic heritage of the Khmer Rouge era (1975-79) has been waged on many fronts. Rithy Panh’s confronting documentary cinema has been highly influential in the exploration of this almost unimaginable tragedy.
    [Show full text]
  • Gender and the Nation in Popular Cambodian Heritage Cinema
    Gender and the Nation in Popular Cambodian Heritage Cinema A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ASIAN STUDIES MAY 2014 by: Jessica Austin Thesis Committee: Miriam Sharma, Chairperson Barbara Watson-Andaya Jonathan Padwe Jonna Eagle Keywords: Cambodia, Cinema, Gender, Nation, Popular Culture, Sihanouk ii Dedicated to: My families, both near and far. iii Acknowledgements In researching this project for two years, I have been incredibly fortunate to receive the help, guidance, and friendship of a vast network of people living and working in Cambodia, Hawai'i, and the United States. None of this would have been possible without the support of the Center for Southeast Asian Studies at the University of Hawai'i-Manoa, and generous grants from the Moscotti Foundation. I am also indebted to Severine Wemaerae, Gilles Duval, Rithy Panh, and Davy Chou for allowing me to naively interrupt many proceedings of the Memory! International Film Heritage Festival 1st Edition so that I could dive head first into the world of film archives, preservation, and filmmaking in Cambodia. The employees of the Bophana Audio-Visual Archive in Phnom Penh were extremely patient with me while I watched films and asked them incessant questions about film heritage, for which I am so very grateful. The youth organizations I worked with, Kon Khmer Koun Khmer and Preah Soriya student group at RUPP, were extremely generous with their time, and I extend my gratitude to all of the members of those groups.
    [Show full text]
  • Netflix Ftkmf Discussion Guide
    Page 2 ABOUT THIS GUIDE This guide is designed to assist screening organizers, teachers, and community leaders in facilitatng a pre- and post- screening discussion for First They Killed My Father, a feature flm directed by Angelina Jolie. The guide is intended for general audiences, and may also be used in high school or college courses, partcularly (but not exclusively) in Asian American Studies, ethnic studies, history, literature, politcal science, and global studies. The guide provides historical informaton about Cambodia and the contexts in which the flm’s narratves take place, details about the flm’s planning and producton, and instructonal tps and resources for teachers, presenters and facilitators. Perhaps most importantly, it outlines major themes and sample questons designed to stmulate discus- sion and refecton by audience members both in Cambodia and around the globe. A list of websites and other rele- vant resources is included at the end of the guide, for those who might want to further research the issues. It is our hope that the flm will inspire viewers to analyze and refect upon both the causes and consequences of war, and serve as a catalyst for discussion about how we might move away from confict and toward peace. This guide contains: ñ Background on Cambodia and the Khmer Rouge regime ñ Pre-screening and preparatory notes for facilitators ñ Post-screening discussion questons ñ Resources for the themes introduced in the flm TABLE OF CONTENTS Introducton ...........................................................................................................................................
    [Show full text]