Imágenes ausentes, perdidas, creadas. L’image manquante y los límites de la representación

Authors

DOI:

https://doi.org/10.15847/obsOBS0001810

Keywords:

Genocidio camboyano, Imagen y Violencia, Rithy Panh, Jemeres Rojos

Abstract

El film L’image manquante (Rithy Panh, 2013) se organiza en torno a un tópico de las imágenes de atrocidades surgido de los debates en torno al Holocausto, a saber: la ausencia de una imagen fidedigna capaz de encarnar la violencia extrema del exterminio. Las imágenes sobre la masacre perpetrada por los Jemeres Rojos entre 1975 y 1978 en Kampuchea Democrática responden a cuatro estrategias o modalidades distintas: de perpetradores, de liberadores, testimoniales y creativas. A este estado de cosas responde Rithy Panh al emprender su film, de cariz intimista. L’image manquante recurre, así, a una imaginería no realista basada en figuras de arcilla proyectadas sobre un diorama para incrustar entre ellas y una voiceover hipnótica los modos de imagen fotográfica y cinematográfica anteriores para constatar su insuficiencia y su fracaso, a la vez para la representación colectiva y para la memoria traumática individual. A través de un análisis de composición, montaje, voz y su articulación con la imaginería preexistentes, este texto pone en perspectiva la imagen y sus insuficiencias en la representación de todo genocidio o violencia de masas a través del cine para el caso camboyano.

Author Biography

Vicente Sánchez-Biosca, University of Valencia

Professor Dept. Communication

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Published

2020-09-28

How to Cite

Sánchez-Biosca, V. (2020). Imágenes ausentes, perdidas, creadas. L’image manquante y los límites de la representación. Observatorio (OBS*). https://doi.org/10.15847/obsOBS0001810

Issue

Intermedialidades em imagens (pós)coloniais (Special Issue)

Section

Articles

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