Posmemoria y trauma animado de la imagen perdida. Los planteamientos narrativo y estético de Funan de Denis Do

  1. Martín Sanz, Álvaro 1
  1. 1 Universidad Carlos III de Madrid
    info

    Universidad Carlos III de Madrid

    Madrid, España

    ROR https://ror.org/03ths8210

Journal:
Con A de animación

ISSN: 2173-3511

Year of publication: 2021

Issue Title: Animando realidades

Issue: 12

Type: Article

DOI: 10.4995/CAA.2021.15087 DIALNET GOOGLE SCHOLAR lock_openOpen access editor

More publications in: Con A de animación

Abstract

Funan (2018) is the title of the debut film by the French director, of Cambodian origin, Denis Do. The film, winner of the Crystal for Best Film at the Annecy Festival, tells the story of Chou and his family, forced to evacuate the city of Phnom Penh with the rise of the khmer rouge. Thus, the film is developed as an artistic work established by the postmemory generation around traumatic events that have not been directly experienced but are fictionalized though animation. The objective of this article is to explore the narrative and aesthetic approaches of the work in relation to three clear references based on the Cambodian genocide: the graphic novel L'année du lièvre (2011) by Tian, the film The Lost Image (L’image manquante, 2013) by Rithy Panh, and finally, the artistic universe of the painter Vann Nath.

Bibliographic References

  • AGUIRRE, Mark, 2009. Camboya. El legado de los Jemeres Rojos, Barcelona: El viejo topo.
  • ALLOA, Emmanuel, BAYARD, Pierre, PHAY, Soko, 2015. "Figurations of Postmemory: An Introduction", en Journal of Literature and Trauma Studies, vol. 4, no. 1-2, pp. 1-12. https://doi.org/10.1353/jlt.2016.0005
  • ASSMAN, Jan, 1995. "Collective Memory and Cultural Identity", en New German Critique, no. 65, pp. 125-133. https://doi.org/10.2307/488538
  • BARRY, Ann Marie Seward, 1997. Visual Intelligence: Perception, Image and Manipulation in Visual Communication, Albany: State University of New York Press.
  • BOYLE, Deirdre, 2009. "Shattering Silence: Traumatic Memory and Reenactment in Rithy Panh's S-21: The Khmer Rouge Ki-lling Machine", en Framework: The Journal of Cinema and Media, vol. 50, no. 1-2, pp. 95-106. https://doi.org/10.1353/frm.0.0049
  • BRZESKI, Patrick, 2014. "Cambodia Celebrates First Oscar Nomination", en The Hollywood Reporter, 17 de enero (https://www.hollywoodreporter.com/news/cambodia-celebrates-first-oscar-nomina-tion-671787 [abril, 2020]).
  • CHANDLER, David, 1993. A History of Cambodia, Boulder, Colorado: Westview
  • CLAYTON, Thomas, 1998. "Building the New Cambodia: Educational Destruction and Construction under the Khmer Rouge, 1975-1979", en History of Education Quarterly, vol. 38, no. 1, pp. 1-16. https://doi.org/10.2307/369662
  • COEDÈS, Gorges, 1944. Histoire ancienne des États hindouisés d'Extrême-Orient, Ha-noi: Imprimerie d'Extrême-Orient.
  • CONNOR, Steven, 2000. Dumbstruck - A Cultural History of Ventriloquism, Oxford: Oxford University Press. https://doi.org/10.1093/acprof:oso/9780198184331.001.0001
  • COSTA, Jordi, 2019. "La imagen desorientada", en El País, 25 de marzo (https://elpais.com/cultura/2019/03/20/actua-lidad/1553122789_244318.html [abril, 2020]).
  • ELKINS, JOHN, 1998. On Pictures and the Words That Fail Them, Cambridge, Nueva York: Cambridge University Press.
  • ETCHESON, Craig, 2005. After the Killing Fields: Lessons from the Cambodian Genocide, Wesport, Connecticut: Praeger Publishers.
  • FORCEVILLE, Charles. "Metaphor in Pictures and Multimodal Representations", en GIBBS, Rzaymond W. (ed.), 2008. The Cambridge Handbook of Metaphor and Thought, Cambridge, Nueva York: Cam-bridge University Press, pp. 462-482. https://doi.org/10.1017/CBO9780511816802.028
  • GUBERN, Román, 2005. La imagen porno-gráfica y otras perversiones ópticas, Barcelona: Anagrama.
  • HACHERO HERNÁNDEZ, Bruno, 2015. "Deformar a la Gorgona: la imagen animada como estrategia para documentar el horror", en Con A de animación, nº. 5, pp. 114-125. https://doi.org/10.4995/caa.2015.3542
  • HINTON, Alexander Laban, 2014. "Justice and Time at the Khmer Rouge Tribunal: In Memory of Vann Nath, Painter and S-21 Survivor", en Genocide Studies and Prevention: An International Journal, vol. 8, no. 2, pp. 7-17. https://doi.org/10.5038/1911-9933.8.2.3
  • HIRSCH, Marianne, 2001. "Surviving Ima-ges", en The Yale Journal of Criticism, vol. 14, no. 1, pp. 5-37. https://doi.org/10.1353/yale.2001.0008
  • HIRSCH, Marianne, 2015 [2012]. La generación de la posmemoria. Escritura y cultura visual después del holocausto, Madrid: Carpe Noctem (The Generation of Postmemory: Writing and Visual Culture After the Holocaust, Nueva York: Columbia University Press).
  • KIERNAN, Ben, 1997. The Pol Pot Regime. Race, Power, and Genocide in Cambodia under the Khmer Rouge, 1975-79, Chiang Mai: Silkworm Books.
  • KRIGER, Judith, 2012. "Finding pleasure in the imperfection: Yoni Goodman", en KRI-GER, Judith (ed.), Animated Realism. A be-hind the scenes look at the animated documentary genre, Oxford: Elsevier, pp. 1-16. https://doi.org/10.1016/B978-0-240-81439-1.00001-6
  • LANDESMAN, Ohad, BENDOR, Roy, 2011. "Animated Recollection and Spectatorial Experience in Waltz with Bashir", en Animation: An Interdisciplinary Journal, vol. 6, no. 3, 1-18. https://doi.org/10.1177/1746847711417775
  • LORENZO HERNÁNDEZ, María, 2014. "Cuadernos de viaje animados: memoria, tránsito y experiencia", en CEAn (ed.), La Animación y las otras Artes. Actas del III Foro Internacional sobre Animación - ANIMA 2013. Córdoba, Argentina: Universidad Nacional de Córdoba, pp. 135-151.
  • LOUISON, Valérie, 2011. "La représentation du corps chez Tatsumi Yoshihiro, maître du manga réaliste (gekiga)", en Itinéraires. Littérature, textes, cultures, no. 3, pp. 173-187. https://doi.org/10.4000/itineraires.1571
  • MAKOWSKI, Sara, 2002. "Entre la bruma de la memoria: Trauma, sujeto y narración" en Perfiles latinoamericanos: Revista de la Facultad Latinoamericana de Ciencias Sociales, nº. 21, pp. 143-158.
  • MARTÍN SANZ, Álvaro, 2018. "Poética de la violencia en busca de un relato. El drama del refugiado en Exil (2016) de Rithy Panh", en Archivos de la Filmoteca, nº. 75, pp. 211-224.
  • MARTÍN SANZ, Álvaro, 2019. "Camboya Año Cero: la Reconstrucción de la Antiutopía de los Jemeres Rojos en La Imagen Perdida (2013) de Rithy Panh", en Cauce. Revista Internacional de Filología, Comunicación y sus Didácticas, no. 41, pp. 53-75.
  • McCLOUD, Scott, 1994. Understanding Co-mics. The Invisible Art, Nueva York: Harper Collins.
  • NATH, Vann, 1998. Dans l'enfer de Tuol Sleng. L'inquisition khmere rouge en mots et en tableaux, París: Calmann-lévy.
  • NORRIS, Craig, 2008. "Manga, anime and visual art culture", en Sugimoto, Yoshio (ed.), The Cambridge Companion to Modern Japanese Culture, Nueva York: Cam-bridge University Press, pp. 236-260 https://doi.org/10.1017/CCOL9780521880473.014
  • PEYSSON-ZEISS, Agnès, 2019. "Dans la marge de la BD: Génocide et résilience", en Nouvelles Études Francophones, vol. 34, no. 1, pp. 68-80. https://doi.org/10.1353/nef.2019.0008
  • PHAY, Soko, 2015. "Missing Images of Genocide and Creation in Cambodia", en Journal of Literature and Trauma Studies, vol. 4, no. 1-2, pp. 87-98. https://doi.org/10.1353/jlt.2016.0003
  • QUINN, Kenneth, 1989. "The Pattern and the Scope of Violence", en Jackson, Karl (ed.), Cambodia 1975-1978: Rendezvous with Death, Princeton: Princeton University Press, pp. 179-208.
  • RANCIÈRE, Jacques, 2010. El espectador emancipado, Pontevedra: Ellago.
  • ROE, Annnabelle H., 2009. Animating do-cumentary, Los Ángeles: University of Southern California.
  • ROE, Annnabelle H., 2013. Animated documentary, Nueva York: Palgrave Macmillan. https://doi.org/10.1057/9781137017468
  • ROSENBAUM, Roman, 2010. "Gekiga as a site of Intercultural Exchange: Tatsumi Yoshihiro's A Drifting Life", en Inter-cultural Crossover, Transcultural Flows, Colonia, 30 de septiembre-2 de octubre. Kioto: International Manga Research Center, pp. 1-20.
  • SANTOS, Ana, 2019. "Dennis Do nos habla de 'Funan', la ópera prima que ganó el Festival Annecy", en Fotogramas, 22 de marzo (https://www.fotogramas.es/noticias-cine/a26897158/funan-pelicula-denis-do-entrevista/ [abril, 2020]).
  • SARLO, Beatriz, 2005. Cultura de la memoria y giro subjetivo. Una discusión, Buenos Aires: Siglo Veintiuno Editores.
  • SCOTT, Karen D., 2003. "Popularizing Science and Nature Programming: The Role of 'Spectacle' in Contemporary Wildlife Documentary", en Journal of Popular Film and Television, vol. 31, no.1, pp. 29-35. https://doi.org/10.1080/01956050309602866
  • SKOLLER, Jeffrey, 2011. "Making It (Un)real: Contemporary Theories and Practices in Documentary Animation", en Animation: An Interdisciplinary Journal, vol. 6, no. 3, pp. 207-214. https://doi.org/10.1177/1746847711422496
  • SOFIAN, Sheila, 2005. "The Truth in Pictures", en FPS, marzo, pp. 7-10.
  • STARK, Miriam T., 2006. "From Funan to Angkor. Collapse and Regeneration in Ancient Cambodia", en SCHWARTZ, Glenn M. y NICHOLS, John J. (eds.), After Collapse. The Regeneration of Complex Societies, Tucson: The University of Arizona Press, pp. 144-167.
  • TAYLOR, Owen, KIERNAN, Ben, 2006. "Bombs over Cambodia", en The Walrus, pp. 62-69.
  • TODOROV, Tzvetan, 1989. "Fictions et vérités", en L'Homme, vol. 29, no 111-112, pp. 7-33. https://doi.org/10.3406/hom.1989.369147
  • TORCHIN, Leslu, 2014. "Mediation and remediation: La parole filmée in Rithy Panh's The Missing Picture (L'image Man-quante)", en Film Quarterly, no. 68, pp. 32-41. https://doi.org/10.1525/fq.2014.68.1.32
  • UNG, Lonng, 2009. First they killed my father, Edimburgo: Mainstream Publishing Company.
  • VICKERY, Michael, 2003. "Funan Reviewed: Deconstructing the Ancients", en Bulletin de l'Ecole française d'Extrême-Orient, vol. 90-91, pp. 101-143. https://doi.org/10.3406/befeo.2003.3609
  • VITULLO, Julieta, 2013. "'Nostalgia de la luz' de Patricio Guzmán: el cine como máquina del tiempo", en Kamchatka. Re-vista de análisis cultural, no. 2, pp. 179-192. https://doi.org/10.7203/KAM.2.3163
  • WAJCMAN, Gérard, 2001. El objeto del siglo, Buenos Aires: Amorrortu.
  • WARD, Paul, 2005. Documentary: The Margins of Reality, Londres: Wallflower.
  • WARD, Paul, 2006. "Animated Interactions: Animation Aesthetics and the World of the 'Interactive' Documentary", en BU-CHAN, Suzanne (ed.), Animated 'Worlds'. Londres, John Libbey, pp. 113-129. https://doi.org/10.2307/j.ctt22p7j2j.11
  • WELLS, Paul, 1998. Understanding Animation, Londres, Nueva York: Routledge.
  • WELLS, Paul, QUINN, Joanna y MILLS, Les, 2010 [2008]. Dibujo para animación, Bar-celona, Blume (Drawing for Animation, Londres: AVA Publishing).
  • WILSON, Audrey, 2015. "Khmer Rouge stories in graphic - but not explicit - detail", en The Phnom Penh Post, 5 de diciembre (https://www.phnompenhpost.com/post-weekend/khmer-rouge-stories-gra-phic-not-explicit-detail [abril, 2020]).
  • YOSEF, Raz, 2010. "War Fantasies: Memory, Trauma and Ethics in Ari Folman's Waltz With Bashir", en Journal of Modern Jewish Studies, vol. 9, no. 3, pp. 311-326. https://doi.org/10.1080/14725886.2010.518444
  • ZAHED, Ramin, 2019. "'Funan': Denis Do's Poetic Personal History", en Animation Magazine, 26 de abril (https://www.ani-mationmagazine.net/features/funan-denis-dos-poetic-personal-history/ [abril, 2020]).
Data source: Dialnet