This article explores the relationship between the affective intensities of screen media and its potential to serve as an affective force for the transmission of intergenerational trauma. I explore how watching a documentary portraying historical atrocities that preceded the birth of the documentary’s viewers yet affected their lives in profound ways, is one of the manifold engagements in genealogy and memory work that seeks to know the past affectively. My focus is on Indisch (Indonesian-Dutch) viewers whose relatives suffered through various atrocities that took place in Indonesia in the 20th century. By ethnographically exploring Indisch affective engagements with Joshua Oppenheimer’s documentary, The Act of Killing (2012), I show how su...
The article is centred on the relationship between visual imaginary and testimonies, the way the for...
This article examines representations of trauma in Lúcia Murat’s Que bom te ver viva (How Nice to Se...
The article is centred on the relationship between visual imaginary and testimonies, the way the for...
Gifted filmmakers such as Joshua Oppenheimer, director of The act of killing, are attempting to use ...
<p>This paper explores two experimental documentary films that present memories of acts of mass viol...
The case study considered by the authors of this article is a peculiar example of a documentary that...
The case study considered by the authors of this article is a peculiar example of a documentary that...
open2noFirst published online: August 27, 2019The case study considered by the authors of this artic...
This article reconsiders relationships between trauma and documentary film, and does so by drawing o...
Through an analysis of documentary audiences for The Act of Killing (2012) and The Look of Silence (...
Oppenheimer describes The Act of Killing as a ‘documentary about the imagination. We are documenting...
Through an analysis of The Act of Killing (2012) and The Look of Silence (2014), this article explor...
Through an analysis of The Act of Killing (2012) and The Look of Silence (2014), this article explor...
As a study, documentary film is often used as a reference because of its historical, social, cultura...
This dissertation considers unresolved questions of the indexical real in documentary studies, drawi...
The article is centred on the relationship between visual imaginary and testimonies, the way the for...
This article examines representations of trauma in Lúcia Murat’s Que bom te ver viva (How Nice to Se...
The article is centred on the relationship between visual imaginary and testimonies, the way the for...
Gifted filmmakers such as Joshua Oppenheimer, director of The act of killing, are attempting to use ...
<p>This paper explores two experimental documentary films that present memories of acts of mass viol...
The case study considered by the authors of this article is a peculiar example of a documentary that...
The case study considered by the authors of this article is a peculiar example of a documentary that...
open2noFirst published online: August 27, 2019The case study considered by the authors of this artic...
This article reconsiders relationships between trauma and documentary film, and does so by drawing o...
Through an analysis of documentary audiences for The Act of Killing (2012) and The Look of Silence (...
Oppenheimer describes The Act of Killing as a ‘documentary about the imagination. We are documenting...
Through an analysis of The Act of Killing (2012) and The Look of Silence (2014), this article explor...
Through an analysis of The Act of Killing (2012) and The Look of Silence (2014), this article explor...
As a study, documentary film is often used as a reference because of its historical, social, cultura...
This dissertation considers unresolved questions of the indexical real in documentary studies, drawi...
The article is centred on the relationship between visual imaginary and testimonies, the way the for...
This article examines representations of trauma in Lúcia Murat’s Que bom te ver viva (How Nice to Se...
The article is centred on the relationship between visual imaginary and testimonies, the way the for...