Killer images: documentary film, memory and the performance of violence

Abstract

AcknowledgmentsNotes on ContributorsIntroduction, by Joram ten Brink and Joshua Oppenheimer(De)activating EmpathyPublicity and Indifference: Media, Surveillance and 'Humanitarian Intervention', by Thomas KeenanShooting with Intent: Framing Conflict, by Alisa LebowImmersion (2009), by Harun FarockiAnaesthetising the Image: Immersion, Harun Farcocki, by Kodwo EshunRevisiting Rocha's 'Aesthetics of Violence', by Michael ChananMemory of Violence: Visualising Trauma a va de soi: The Visual Representation of Violence in the Holocaust Documentary, by Brian WinstonScreen Memory in Waltz with Bashir, by Garrett StewartAnimating Trauma: Waltz with Bashir, David Polonsky, by Joram ten BrinkSpaces of Violence: History, Horror and the Cinema of Kiyoshi Kurosawa, by Adam LowensteinOn Historical Violence and Aesthetic Form: Jean-Luc Godard's Allemagne 90 Neuf Z ro, by Daniel MorganBattle for History: Appropriating the Past in the PresentSubverting Dominant Historical Narratives: Avenge But One of My Two Eyes, Avi Mograbi, by Joram ten BrinkRe-enactment, the History of Violence and Documentary Film, by Joram ten BrinkInterpreting Jeremy Deller's The Battle of Orgreave, by Alice CorreiaRemediating Genocidal Images into Artworks: The Case of the Tuol Sleng Mug Shots, by St phanie BenzaquenScreening the 1965 Violence, by Ariel HeryantoPerforming ViolencePerpetrators' Testimony and the Restoration of Humanity: S21, Rithy Panh, by Joshua OppenheimerThe Killer's Search for Absolution: Z32, Avi Mograbi, by Joram ten BrinkImpunity, by Benedict AndersonShow of Force: A Cinema-s ance of Power and Violence in Sumatra's Plantation Belt, by Joshua Oppenheimer and Michael UwemedimoMisunderstanding Images: Standard Operating Procedure, Errol Morris, by Joshua OppenheimerIndex