A Home for the Ghosts: On the Diorama as Inhabited Landscape

IF 0.3 3区文学 0 LITERATURE

SUB-STANCE Pub Date : 2022-03-01 DOI:10.1353/sub.2022.0002

J. Cazenave

引用次数: 0

Abstract

Abstract:This article investigates Cambodian filmmaker Rithy Panh’s deployment of dioramas in The Burnt Theater (2005) and Graves Without a Name (2018). It focuses on the status of these miniature tableaux depicting landscapes of the Khmer Rouge regime as a ghost medium. A frame within the frame devoid of human forms, the diorama calls attention to the missing graves and wandering souls of Pol Pot’s agrarian revolution; the shared spaces of the living and the dead in present-day Cambodia; visual amnesia in the form of unmarked killing fields and forgotten landscapes; and new practices of reading the inhabited terrains of the Anthropocene.

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鬼魂的家：论作为居住景观的立体画

摘要：本文调查了柬埔寨电影制作人Rithy Panh在《燃烧的剧院》（2005）和《无名坟墓》（2018）中对立体模型的部署。它聚焦于这些微型画面的地位，这些画面将红色高棉政权的风景描绘成一种幽灵媒介。立体模型是一个没有人形的框架中的框架，它唤起了人们对波尔布特农业革命中失踪的坟墓和流浪灵魂的关注；当今柬埔寨的生者和死者共享空间；视觉健忘症，表现为没有标记的杀戮场和被遗忘的风景；以及阅读人类世有人居住的地形的新实践。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

SUB-STANCE LITERATURE-

CiteScore

0.20

自引率

0.00%

发文量

期刊介绍： SubStance has a long-standing reputation for publishing innovative work on literature and culture. While its main focus has been on French literature and continental theory, the journal is known for its openness to original thinking in all the discourses that interact with literature, including philosophy, natural and social sciences, and the arts. Join the discerning readers of SubStance who enjoy crossing borders and challenging limits.