Perpetrator Trauma and Current Israeli Documentary Cinema
Bibliographic Data
| ID | 11660709 |
|---|---|
| Authors | Raya Morag (corresponding author) |
| Year | 2012 |
| Volume | 27 |
| Issue | 2 |
| Pages | 93-133 |
| Publication date | 2012-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Camera Obscura Feminism Culture and Media Studies (JOURNAL) |
| Journal identifiers | ISSN: 0270-5346 • E-ISSN: 1529-1510 |
| Publisher | Duke University Press (PUBLISHER • US) |
| DOI | 10.1215/02705346-1597222 |
| OpenAlex | W2328477391 |
| Language | EN |
| Citations received | 14 |
This essay proposes a new paradigm for cinema trauma studies: the trauma of the perpetrator. Recognizing a current shift in interest from trauma suffered by victims to that suffered by perpetrators, it seeks to break the repression of the abhorrent figure of the perpetrator in cinema and psychoanalysis literature. This new paradigm is driven by the emergence of a new wave of Israeli documentaries such as Ari Folman's Waltz with Bashir, Tamar Yarom's To See If I'm Smiling, and Avi Mograbi's Z32, one that for the first time includes female IDF (Israeli Defense Forces) veterans. Israeli cinema, attached on one side to the legacy of the Holocaust and on the other to the Israeli occupation, proves a highly relevant case for probing the limits of both types of traumas. Taking as a point of departure the distinction between testimony given by the victim and confession made by the perpetrator, the paper addresses the questions of whether the trauma of the perpetrator indeed exists; how we might understand the somatic and epistemological conditions of guilt; how we should define the perpetrator's trauma in contrast to the victim's; and whether this cinematic trend indeed paves the way for Israelis to assume responsibility for their deeds. Analyzing the characteristics of perpetrator trauma defined as crises (of evidence, disclosure, gender, audience, narrativization) finally leads to a preliminary reflection on the possible relevance of this model for analyzing related new-war films in twenty-first-century world cinema
Art · Confession (law · Criminology · Literature · Movie theater · Political science · Psychoanalysis · Sociology · The Holocaust · German History and Society · History · Jewish and Middle Eastern Studies · Law · Memory, Trauma, and Commemoration · Psychology · Social Psychology
“The Road to the Village”
Transmisi Memori dan Wacana Rekonsiliasi dalam Cerpen “Perempuan Sinting Di Dapur” Karya Ugoran Prasad
Serial Trauma
Failure to Think, Failure to Move
The Kibbutz between the Past and the Present
Returning Home After War
Too painful to forget, too painful to remember
Documenting atrocities around the world
The Israel-Lebanon conflict in war cinema
To See Die, Again
Using Bourdieu to understand perpetrators in The Act of Killing and The Look of Silence
Guilt Displacement
Women for Peace
Synmemory
| Unique citing works | 14 |
|---|---|
| Citations per year | 1,08 |
| Citation span | 2013 - 2025 (13) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 14 |