'The Image of a Quest': the Visual Archives of Rithy Panh
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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. -
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. -
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, -
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 -
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. -
TODAY, HE TOOK IT to DUCH June 30
THIRTY YEARS AGO, DUCH TOOK HIS TOENAILS; TODAY, HE TOOK IT TO DUCH June 30, 2009 By Laura MacDonald, Member of the New York Bar and Consultant to the Center for International Human Rights, Northwestern University School of Law In some respects, today was a lot like yesterday as a packed public gallery again listened to the testimony of an aging male survivor of Tuol Sleng prison (S-21) spared only because of a useful skill. However, mechanic Chum Mey’s testimony was much, much more than a repeat of artist Vann Nath’s testimony yesterday. With Chum Mey’s testimony, finally, the passion and anger of an S-21 victim has been properly injected into the trial of prison chief Kaing Guek Eav (alias Duch). Chum Mey’s Story When the Khmer Rouge came to power in 1975, 79-year-old civil party Chum Mey was a mechanic working in Phnom Penh. Chum Mey and his family were forced to evacuate the city, but a series of tragedies and events brought him back to Phnom Penh to fix sewing machines and other equipment in a Khmer Rouge factory where the black clothes worn by the soldiers were produced. After over three years there, Chum Mey was called away from the factory under the pretext of fixing a Khmer Rouge vehicle. He was delivered to a place he later learned was S-21 where he was arrested, accused of being CIA or KGB, handcuffed, blindfolded, photographed, and stripped to his underwear. Chum Mey was shackled in a two meter by one meter individual cell containing only an ammunition box for feces and a plastic jug for urine. -
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. -
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. -
Global Contemporary Social Issues – Cambodia
Contemporary Social Issues Global Contemporary Social Issues – Cambodia Study of major social issues facing human groups in modern society such as deviance, inequality, war and population. Emphasis placed on global social issues that arise as a result of institutional fluctuations in economy, family, government and war, religion and environment. Major trends specific to Southeast Asia and Cambodia are examined in relationship to contemporary socio - historical – cultural developments. Reflective Response: You will be answering weekly reflective questions designed to help you guide your reading make the connections to your writing. You may answer some or all of the questions and I encourage you to write about other points and ideas as you develop a sociological perspective and imagination in your reflective analyses. Extra Credit Opportunities: Visit The National Cambodian Heritage Museum & Killing Fields Memorial, located at 2831 West Lawrence Avenue, Chicago. (https://www.cambodianmuseum.org/) For up to 50 points extra credit, write a brief essay (3-5 pages, with a selfie) about the following: 1. Describe how you felt going through the Cambodian Museum from start to finish. What did you feel in the opening section? The final section? 2. Analyze your experience based on four of the issues listed in the syllabus. 3. Discuss the similarities and differences you see between the social issues that shaped the country between 1975 and 1979 and the social issues that shape Cambodia today. Film Analysis For up to 20 points, write a 4-5 page analysis of any of the films we view in class or a film you find of interest in the Documentation Center of Cambodia. -
Venice Gap Financing-Market
VENICE GAP – FINANCING MARKET BOOK OF PROJECTS FICTION AND DOCUMENTARY FEATURE FILMS VR, INTERACTIVE, WEB AND TV SERIES 01 – 03.09.2017 www.labiennale.org VENICE GAP– FINANCING MARKET BOOK OF PROJECTS FICTION AND DOCUMENTARY FEATURE FILMS VR, INTERACTIVE, WEB AND TV SERIES 74. Mostra Internazionale d’Arte Cinematografica Cinema Department Director Venice Gap-Financing Market La Biennale di Venezia Alberto Barbera VR, Interactive, Web and its collaborators and TV Series for Book of Projects The Venice Production Bridge welcomes the Cinema Department Valentina Bellomo th Managing Director Consultants Erika Giorgianni 47 selected teams and their projects to the 4 Luigi Cuciniello Lucas Rosant Elena Mantoan Eva Morsch Kihn Chiara Marin Venice Production Bridge Sara Mazzucchi edition of the Venice Gap-Financing Market Pascal Diot Collaborators Alessandro Mezzalira Savina Neirotti Violetta Bava Nikolas Montaldi Paolo Bertolin Since last year, the Venice Gap-Financing Market has expanded to host a larger number of projects [email protected] Matthieu Darras across different audiovisual forms. A total of 47 projects have been selected for this years' edition: www.labiennale.org Giacomo Durzi Francesco Giai Via feature fiction and documentary films, TV & web series and VR films. Elena Pollacchi Michel Reilhac Our hope was that this would bring variety, diversity, and the possibility for many decision makers that Liz Rosenthal were usually working only in one field to crossover to another, building bridges – as the new name of Jane Williams the Venice market suggests. We are proud to say that this has happened – and that in addition to the many feature films that in the past 3 years have closed their financing here in Venice and have then gone on to premiere at festivals worldwide, we can also celebrate the completion of documentaries, web series and virtual reality films. -
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. -
The Complexities of Representing the Cambodian Genocide (2016)
The Complexities of Representing the Cambodian Genocide (2016) The twentieth century saw many genocides; Europe, Asia, Africa, South and Central America all suffered brutal efforts to exterminate and erase whole populations. One might think that in the century of the ubiquitous camera that documentation of these events would be thorough but the perpetrators, well aware of their actions and potential reaction, often forbid or destroyed documentation. Nonetheless, even with only a few images, documents, and first-hand stories we can begin to piece together what happened and how it happened. This source material has been fodder for filmic documentaries and fictional Hollywood productions. We have testimonies, academic studies, and photographs. All together, these representations and re- presentations enable us to peer into the darker side of human behavior presumably with the hope of not allowing these events to ever happen again. But, it is not so simple; the representation of genocide is a complex matter. It raises many questions: What end do the representations serve? Can it be too graphic or not graphic enough? Do the images serve only shock value or can we learn something truly valuable? Do the artifacts of genocide elicit compassion or fear or anxiety? Does it do justice to history, to our memory, and to the memory of those who experienced genocide first hand to exhibit these images? In this paper I will consider two drastically different but related representations of the Cambodian genocide: Rithy Panh’s documentary S21: The Khmer Rouge Killing Machine (2003) and Photographs From S-21: 1975-1979 an exhibit at the Museum of Modern Art (MOMA) in 1997.