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#Documentary s 21 license
You can copy, use, distribute, transmit and display publicly, providing that: i) the authorship and the original source of publication (journal, editorial and URL of the work) ii) it will not be used for commercial purposes iii) the existence and specifications of this license must be mentioned. The works are published in the online edition of the journal under a Creative Commons Attribution-Noncommercial-NoDerivatives 4.0 (legal text). © Servicio de Publicaciones, Universidad de Navarra, 2015Ģ. The University of Navarra (Publications Service as its editorial) retains the property rights (copyright) of published works, and allows the use of this rights under the license indicated in point 2. The texts published in this journal are subject to the following terms:ġ. Revista de estudios cinematográficos 17, January-July.
![documentary s-21 documentary s-21](https://programme-tv.premiere.fr/sites/default/files/styles/scale_crop_480x270/public/2018-04/s21_la_machine_de_mort_khmere_rouge_2002.jpg)
Seeing is believing: notes on the documentary effect. Documentary Film, Memory and the Performance of Violence. Show of Force: A Cinema-séance of Power and Violence in Sumatra’s Plantation Belt. Perpetrators’ Testimony and the Restoration of Humanity: S21, Rithy Panh. Leicester: Troubador Publishing Ltd.Ĭatalá, J.M. The film analysis is applied on the mentioned films, focused on the analysis and depiction of the mise-en-scène and the expressiveness of the faces of the executioners, and particularly on those sequences that display a shared discourse by both directors.Īrendt, H.
![documentary s-21 documentary s-21](https://i.ebayimg.com/images/g/n2kAAOSw-ItgqUMB/s-l300.jpg)
To such purpose, this study firstly proposes a reflection on the way the dominant modes of representation have depicted both historic episodes and then a three-phase study determined by the strategies applied by both filmmakers: confrontation between the victims and the executioners, reenactment of the acts of torture and killing and the persistency of the past in the today empty spaces. Torturers and murderers from the Khmer Rouge regime and from the killings of communists in Indonesia between 19 take part of these strategies to reveal the past. In this analysis we study different strategies used in both films to make present the past through the memory in the body language and the processes of empathy. The present work explores the depictions of the executioners in the documentaries S-21: The Khmer Rouge Killing Machine (S-21, la machine de mort Khmère rouge, Rithy Panh, 2003) and The Act of Killing (Joshua Oppenheimer, Christine Cynn, 2012).