The testimony of the enemy
the confrontation in the elaboration of the past in Rithy Panh
DOI:
https://doi.org/10.11606/issn.2316-7114.sig.2019.147848Keywords:
documentary, memory, aesthetics, testimony, archiveAbstract
This article analyzes the film Duch, le maître des forges de l’enfer (Duch, the master of the forges of hell, 2012) by Rithy Panh, from the considerations of establishing a relationship with the enemy elaborated by Comolli in 2008. Within the narratives of catastrophes, where a traumatic past must be dealt with, the testimony and the use of archives in the production of historical memories are mostly done from the victims’ point of view. The film brings another perspective when facing oblivion through a dictator’s word. Thus, the film must confront Kaing Guek Eav’s attempts to take the floor by creating situations in the mise-en-scène and associations in its montage.
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References
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