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Publications (40)
Big Perpetrator Cambodian Cinema, The Documentary Duel, and Moral Resentment
Abstract
During the last decade, the New Cambodian (documentary) Cinema as a docu-activist cinema has taken upon itself both searching for Big (high-ranking) Khmer Rouge perpetrators and establishing a confrontational and aesthetic ‘intervention’ in regard to verdicts of...
Morag, Raya (2019) "Gendered Genocide: New Cambodian Cinema and the Case of Forced Marriage and Rape," Camera Obscura 113 (forthcoming, in press).
Columbia University Press, 2020.
Winner, 2021 Choice Outstanding Academic Title.
Drawing on the prevailing theoretical paradigm of post-Holocaust research, which defines primarily the post-traumatic subject positions of victim and perpetrator, this paper focuses on the Chinese cinema’s representation of collaboration during the Cultural Revolution (CR). It discusses the issue of betrayal inside the real or symbolic family, whic...
Reviews
This compelling book will matter as long as mass atrocities persist. Focused on the Cambodian genocide, Morag addresses a new phase in how we confront such events: films where survivors confront perpetrators face-to-face. These confrontations bring the visceral truth borne directly of human encounter to the fore with consequences both inte...
This essay aims, first, to describe the under-theorized recent remarkable renaissance of post-Khmer Rouge (KR) cinema generated by women directors, which emerged after the KR regime (1975–79) murdered most of the filmmakers and demolished almost the entire Cambodian film industry; and, second, to analyze first- and second-generation post-traumatic...
Post-World War II Holocaust studies, followed by genocide, trauma, and postcolonial studies, set the triangulation of perpetrator, victim, and bystander at the heart of their discussion of both the ethical legacy of the Holocaust and the aftermath of other twentieth-century catastrophes. Aiming at the constitution of an appropriate instrument to de...
Morag, Raya (2018) "Blood Relations and Nonconsensual Ethics: Israeli Intifada Documentaries," Post Script 36.2-3: 75-85. Special Issue on Documentary Ethics.
The aim of this article is to present the major ethical turn in Israeli documentary cinema during the past decade (2004-2016). This corpus, which shifts between the Holocaust and the Nakba,...
Morag, Raya (2018) "Perpetrator Trauma, New War, and Israeli Cinema," In Gender and Army in Israel eds. Edna Lomsky-Feder and Orna Sasson-Levy, Van-Leer and Hakibutz Hameouhad, Jerusalem: 319-345. (Hebrew)
Morag, R., 2018. On the Definition of the Perpetrator: From the Twentieth to the Twenty-First Century. Journal of Perpetrator Research, 2(1), pp.13–19. DOI: http://doi.org/10.5334/jpr.2.1.19
Post-World War II Holocaust studies, followed by genocide, trauma, and postcolonial studies, set the triangulation of perpetrator, victim, and bystander at th...
In Jewish Studies, ed. Naomi Seidman. New York: Oxford University Press.
http://www.oxfordbibliographies.com/view/document/obo-9780199840731/obo-9780199840731-0126.xml
This chapter proposes an analysis of Rithy Panh's documentaries, S21: The Khmer Rouge Death Machine (2003), Duch, Master of the Forges of Hell (2012) and, to a lesser degree, The Missing Picture (2013), as so-called ‘perpetrator documentaries’ — that is, documentaries that focus on the figure of the perpetrator, while unravelling the long-time enig...
Since early in this decade, Israeli cinema has witnessed the emergence of a new religious wave that presents mainly ultra-Orthodox Jewish culture. Its emergence is influenced by the global rise of religious politics in the post-9/11 era and the subsequent global war on terror, but most of all, by the major forces at work in the Israeli milieu – the...
Morag, Raya (2014) "The Trauma of the Female Perpetrator and New War Cinema" In The Horrors of Trauma in Film: Violence, Void, Visualization eds. Michael Elm, Kobi Kabalek, Julia B. Köhne, Cambridge Scholars Publishing: 293-313
The essay examines a certain shift in the politics of the body/corpse as an outcome of the “new” war. Perspectives on suicide-attack-induced trauma are compared via an analysis of the 2003 Israeli documentary No. 17 (representing here an entire corpus);
video recordings taken of suicide bombers before their missions; and the Palestinian narrative...
An analysis of films depicting the relationship between the Occupation and terror in Israeli and in Palestinian queer cinema produced during – and after – the second Intifada (2000-2008) reveals a complex picture. Both corpora deal with the post-traumatic queering of race and nationality. However, while the Israeli films (The Bubble by Eytan Fox an...
Waltzing with Bashir proposes a new paradigm for cinema trauma studies - the trauma of the perpetrator. Recognizing a current shift in interest from the trauma suffered by victims to that suffered by perpetrators, the book seeks to theorize this still under-studied field thus breaking the repression of this concept and phenomenon in psychoanalysis...
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...
An exploration of the concept of ‘post-queer’ through reinterpreting New German Cinema (NGC) as post-traumatic cinema processing the trauma of the defeat of the Third Reich, reveals the singular complexity of the conflict between the corpus and Nazi Germany's past. An intricate process associated with (post)queerness and masculinity takes place in...
An analysis of films depicting interracial sex between men in Israeli and in Palestinian cinema, which were produced during and after the second Intifada (2000-2008), reveals a complex picture. Both corpora deal with the post-traumatic intersection of race and nationality with gender and sexuality. The paper examines two examples: Eytan Fox’s Israe...
The burgeoning field of trauma and cinema is an exciting development within contemporary trauma studies. The author of this book describes the complex relationship between cinema and the trauma of defeat in war. An asymmetric and non-binary comparison of two test cases, post-World War II New German Cinema and post-Vietnam War American cinema, illum...
The cover photo for Raz Yosef's Beyond Flesh: Queer Masculinities and Nationalism in Israeli Cinema shows a meticulously directed event of mourning performed by two models dressed as Israeli soldiers in a staged battle scene. One, who seems to be a medic of Mizrahi origin, holds the head of the other, dead, soldier, supposedly Ashkenazi, in a pietà...
An analysis of films depicting interracial sex between men during the al-Aqsa Intifada reveals a complex picture. Eytan Fox’s Israeli film, The Bubble, deals with the love between a young Israeli and a young Palestinian, ending tragically when the Palestinian becomes a suicide terrorist. In Abu Wael’s Diary of a Male Whore, a Palestinian street hus...
This article offers a reflection on media ethics originating in cinema. Discussing the shift in the politics of the body/corpse as an outcome of the “new” war allows us to compare perspectives towards trauma resulting from suicide attacks in the Israeli documentary No. 17 (as a representative example of an entire corpus), in video recordings taken...
Representation of the trauma of suicide attacks in Israeli fictional cinema during the height of the Second Intifadah (2000-2004) is blocked by both the repression of the trauma and by collectivization of personal memory. That is, by anti-memory. In contrast, the new genre of short-short films of the tele-cinema project Moments provides a befitting...
Morag, Raya (2008) "Sound, Image, Terror and Memory: Israeli Narrative Cinema in the Age of the Second Intifada," Israel 14: 71-88. (in Hebrew).
After a latency period, the American cinema is processing the trauma of defeat in the Vietnam War. In these films, defeat is repressed but the defeated male is present. Central to the texts is a profound loss of self, incoherence at the gendered core of masculine identity, the failure to conform to the heteronormative mythical model, loss of tradit...
The cinematic representations of bulimia nervosa are few in
number. Their very rarity, however, sheds light on the relations
between the private body and the public (social, historical, cultural,
and cinematic) body, as well as between the private, external,
ostensibly visible body, and the internal, invisible, repressed
body. Both Hunger Years (Hu...
Morag, Raya. 2000. “'Life-Taker Heart-Breaker': Mask-ulinity and/or Femininity in Full Metal Jacket”. In The Seeing Century: Film, Vision, and Identity, Wendy Everett ed. Rodopi, p. 186 - 197.
Loshitzky Yosefa & Meyuhas [Morag] Raya PI (1992) "‘Ecstasy of Difference’: Bertolucci’s The Last Emperor," Cinema Journal 31.2 Winter: 26-44.
Projects
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