{"title":"鬼魂的家：论作为居住景观的立体画","authors":"J. Cazenave","doi":"10.1353/sub.2022.0002","DOIUrl":null,"url":null,"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.","PeriodicalId":45831,"journal":{"name":"SUB-STANCE","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"A Home for the Ghosts: On the Diorama as Inhabited Landscape\",\"authors\":\"J. Cazenave\",\"doi\":\"10.1353/sub.2022.0002\",\"DOIUrl\":null,\"url\":null,\"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.\",\"PeriodicalId\":45831,\"journal\":{\"name\":\"SUB-STANCE\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2022-03-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"SUB-STANCE\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1353/sub.2022.0002\",\"RegionNum\":3,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"N/A\",\"JCRName\":\"LITERATURE\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"SUB-STANCE","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/sub.2022.0002","RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"N/A","JCRName":"LITERATURE","Score":null,"Total":0}
A Home for the Ghosts: On the Diorama as Inhabited Landscape
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.
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.
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