Abstract
In L’image manquante/The Missing Picture (Rithy Panh, 2013), Rithy Panh continues his exploration of the Cambodian genocide. Combining Khmer Rouge propaganda films, contemporary video footage and painted clay figurines in stunningly crafted—often multimedia—dioramas, the documentary couples ruminations on mediation, trauma, and history with Panh’s personal story. However, the film reaches beyond individual narrative and reflection, functioning as cinematic witness as it counters silences, fills historical gaps, and provides a testimony that is polyphonic and collective. And through his deployment of clips from his former films, Panh creates a sedimented text, suggestive of a past that refuses to stay past and of the magnitude of history, where any production of memory can both preserve and veil the lives of others.
| Original language | English |
|---|---|
| Pages (from-to) | 32-41 |
| Number of pages | 10 |
| Journal | Film Quarterly |
| Volume | 68 |
| Issue number | 1 |
| DOIs | |
| Publication status | Published - 1 Sept 2014 |
Access to Document
- FQ6801_04_Torchin
© 2014 by The Regents of the University of California. Published as Film Quarterly, Vol. 68, Number 1, pp. 32–41, ISSN 0015-1386, electronic ISSN 1533-8630. Copying and permissions notice: Authorization to copy this content beyond fair use (as specified in Sections 107 and 108 of the U. S. Copyright Law) for internal or personal use, or the internal or personal use of specific clients, is granted by [the Regents of the University of California/on behalf of the Sponsoring Society] for libraries and other users, provided that they are registered with and pay the specified fee via Rightslink® on [JSTOR (http://www.jstor.org/r/ucal)] or directly with the Copyright Clearance Center, http://www.copyright.com
