The Cinema of Rithy Panh : : Everything Has a Soul / / Joseph Mai, Leslie Barnes; ed. by Joseph Mai, Leslie Barnes.

• Superior document: Title is part of eBook package: De Gruyter EBOOK PACKAGE Arts 2021
• VerfasserIn: Barnes, Leslie,
• MitwirkendeR: Barnes, Leslie,; Benzaquen-Gautier, Stephanie,; Benzaquen-Gautier, Stéphanie,; Cazenave, Jennifer,; French, Lindsay,; Harrison, Rachel,; Kleinen, John,; LaRocca, David,; Ly, Boreth,; Mai, Joseph,; Morag, Raya,; Phay, Soko,; Reid, Donald,; Schlund-Vials, Cathy J,; Schlund-Vials, Cathy J.,; Sánchez-Biosca, Vicente,; Um, Khatharya,; Yeager, Jack A.,
• HerausgeberIn: Barnes, Leslie,; Mai, Joseph,
• Place / Publishing House: New Brunswick, NJ : : Rutgers University Press, , [2021]; ©2022
• Year of Publication: 2021
• Language: English
• Series: Global Film Directors
• Physical Description: 1 online resource (264 p.) :; 21 b-w images

Born in 1964, Cambodian filmmaker Rithy Panh grew up in the midst of the Khmer Rouge’s genocidal reign of terror, which claimed the lives of many of his relatives. After escaping to France, where he attended film school, he returned to his homeland in the late 1980s and began work on the documentaries and fiction films that have made him Cambodia’s most celebrated living director. The fourteen essays in The Cinema of Rithy Panh explore the filmmaker’s unique aesthetic sensibility, examining the dynamic and sensuous images through which he suggests that “everything has a soul.” They consider how Panh represents Cambodia’s traumatic past, combining forms of individual and collective remembrance, and the implications of this past for Cambodia’s transition into a global present. Covering documentary and feature films, including his literary adaptations of Marguerite Duras and Kenzaburō Ōe, they examine how Panh’s attention to local context leads to a deep understanding of such major themes in global cinema as justice, imperialism, diaspora, gender, and labor. Offering fresh takes on masterworks like The Missing Picture and S-21 while also shining a light on the director’s lesser-known films, The Cinema of Rithy Panh will give readers a new appreciation for the boundless creativity and ethical sensitivity of one of Southeast Asia’s cinematic visionaries.

Table of Contents

Frontmatter -- CONTENTS -- CHRONOLOGY -- Introduction: Rithy Panh and the Cinematic Image -- Part I: Aftermath: A Cinema of Postwar Survival -- 1 The “Mad Mother” in Rithy Panh’s Films -- 2 Resilience in the Ruins: Artistic Practice in Rithy Panh’s The Burnt Theatre -- 3 The Wounds of Memory: Poetics, Pain, and Possibilities in Rithy Panh’s Exile and Que la barque se brise -- Part II: From Colonial to Global Cambodia -- 4 Rithy Panh’s The Sea Wall: Reinventing Duras in Cambodia -- 5 Rithy Panh as Chasseur d’images -- 6 Aerial Aftermaths and Reckonings from Below: Reseeing Rithy Panh’s Shiiku, the Catch -- 7 Cambodia’s “Wandering Souls”: Migrant Labor and the Promise of Connection -- Part III: The Question of Justice -- 8 Archiving the Perpetrator -- 9 Creating Duch: The Projects of Duch, François Bizot, and Rithy Panh -- 10 Rithy Panh, Jean Améry, and the Paradigm of Moral Resentment -- Part IV: Memory, Voice, and Cinematic Practice -- 11 Looking Back and Projecting Forward from Site 2 -- 12 Bophana’s Image and Narrative: Tragedy, Accusatory Gaze, and Hidden Treasure -- 13 Memory Translation: Rithy Panh’s Provocations to the Primacy and Virtues of the Documentary Sound/Image Index -- 14 Rithy Panh: Storyteller of the Extreme -- Acknowledgments -- Bibliography -- Notes on Contributors -- Index