Vicente Sánchez-Biosca

University of Valencia | UV · Department of the Theory of Languages and Communication Sciences

This volume maps cultural representations of Mass Violence from the perpetrators’ perspective. It analyzes spaces where political crimes have been committed and how these places have undergone successive resemanticization in collective memories. The chapters comparatively examine scenes of Mass Violence carried out in very diverse regions of the gl...

Este texto presenta el número monográfico “Perpetradores de crímenes de masas e imagen. Miradas, identidades, testimonios”. El número se enmarca dentro de los “estudios sobre perpetradores”, campo de investigación que se ha consolidado en los últimos años, y tiene como objetivo reflexionar en torno a la imagen; en otras palabras, ofrecer un aporte...

En los últimos años, el estudio de los perpetradores de violencia de masas ha crecido sustancialmente en publicaciones académicas, museos, memorias y cobertura mediática. Lo ha hecho cada vez con menos dependencia respecto a los influyentes y muy avanzados Holocaust Studies. Además, los horizontes de la investigación se han ampliado desde las perso...

Building on existing film and urban histories, this innovative volume examines Spanish cinema through contemporary interdisciplinary theories of urban space, the built environment, visuality and mass culture from the industrial through to the digital age. Architecture and the Urban in Spanish Film brings together the scholarship of an international...

Resumen La Guerra Civil española (GCE) constituyó un desgarro material y mental de los españoles que, aunque hoy podemos definir con el término trauma, no fue conceptualizado así durante muchos años, en los que un vocabulario heroico o trágico fue hegemónico. El cine constituye un medio especialmente elocuente y fértil, aunque también problemático,...

El film L’image manquante (Rithy Panh, 2013) se organiza en torno a un tópico de las imágenes de atrocidades surgido de los debates en torno al Holocausto, a saber: la ausencia de una imagen fidedigna capaz de encarnar la violencia extrema del exterminio. Las imágenes sobre la masacre perpetrada por los Jemeres Rojos entre 1975 y 1978 en Kampuchea...

In January 1979, Vietnamese troops triumphantly entered Phnom Penh, the capital of Democratic Kampuchea ruled by the Khmer Rouge. The images they produced to justify their military offensive dwelled on the horror of the atrocities committed by the overthrown Pol Pot regime in the former torture center code-named S-21. In the framework of a split wi...

Le film L’image manquante (Rithy Panh, 2013) puise dans la tradition d’un topique dont l’origine est à chercher dans la littérature autour de la Shoah, à savoir : le non-représentable. Cependant, dans le cas du génocide cambodgien, les images existantes se caractérisent, plus que dans d’autres exemples, par leur pénurie. Prenant en considération le...

This article aims at conceptualizing the phrase 'perpetrator images' as a major issue in relation to the act of taking photographs, filming or any oder means of registering acts of perpetration of mass crimes on visual support. Analysing several cases (the filming in the Warsaw ghetto in the Spring of 1942, the identifying mug shots by the Khmer ro...

Rithy Panh' s film S-21. The Khmer Rouge Killing Machine (2003) was the result of a three-year shooting period in the Khmer Rouge centre of torture where perpetrators and victims exchanged experiences and re-enacted scenes from the past under the gaze of the filmmaker' s camera. Yet, a crucial testimony was missing in that puzzle: the voice of the...

Rithy Panh’s film S-21. The Khmer Rouge Killing Machine (2003) was the result of a threeyear shooting period in the Khmer Rouge centre of torture where perpetrators and victims exchanged experiences and re-enacted scenes from the past under the gaze of the filmmaker’s camera. Yet, a crucial testimony was missing in that puzzle: the voice of the pri...

This article focuses on the images used over four decades to represent the Cambodian genocide in photography, cinema, visual arts and the media as the basis for analyzing the documentary-memoir directed by Rithy Panh, The Missing Picture. First, there is a paucity of images which depict, evoke or allude to the crimes perpetrated by the Khmer Rouge...

This is the editors' introduction to the special issue: "Images And Collective Violence: Function, Use And Memory."

The text aims at establishing a categorization of the images representing atrocity, political violence, genocide and crimes against humanity, according to their enunciation process, that is, the relationship between the act in the making and the physical and ethical position of the visual dispositive. The article delves into the categories of perpe...

The Tuol Sleng Genocide Museum in Phnom Penh will soon commemorate the fortieth anniversary of its founding. Established in the premises of the Khmer Rouge prison S.21 in 1979, right after the downfall of the Pol Pot regime, it has become over the years the main site of memory of the Cambodian Genocide, represented in numerous books, documentary mo...

Este texto analisa as reapropriações de uma fotografia de perpetradores produzida em um contexto totalitário em que a posse da imagem do detido significa não só a destruição da pessoa como a eliminação das marcas de sua destruição. A cena é de um centro de tortura e prisão conhecido como S-21 durante o governo Khmer Vermelho (de abril de 1975 a jan...

Program of the International Conference to be held at Alfons el Magnànim and the University of Valencia (Spain) between November 14-16, 2017

La imagen perdida (L’image manquante / The Missing Picture, Rithy Panh, 2013) constituye una indagación, a la vez intimista e histórica, acerca de las posibilidades, y por tanto también los límites, de cualquier imagen para capturar acontecimientos extremos de la historia y de la experiencia humana del dolor, en este caso ante el teatro del genocid...

This chapter analyzes the relationship between historical events, images and the charisma of Communist Spanish leader Santiago Carrillo on three key moments of the Spanish Transition to Democracy: 1971, when Spanish Communist Party held a mass rally in Paris announcing the decision to fight the Franco Dictatorship from within: 1977, when a group of...

Pasados cuarenta años del inicio de la Transición española, el interés por este fascinante período no ha dejado de crecer. Auténtico ritornello de la vida política, ha servido para iluminar los dilemas del presente o celebrar su éxito como fórmula magistral para instaurar la democracia. Este libro analiza un aspecto poco explorado del mismo: las re...

This chapter, which is the opening text to a book entitled The Act of Killing, deals with the new strategies, both ethic and aesthetic, that characterize the representation of mass violence, war crimes and genocide since the turn of the 21st century, including the practice of reenactment, the turning of attention to the perpetrators and the treatme...

En 2010, un documental germano-israelí –A Film Unfinished– recuperaba enigmáticos planos rodados por un equipo de cineastas alemanes (Propaganda Kompanien) en el ghetto de Varsovia durante la primavera de 1942. Una porción considerable de estos planos que el Ministerio de Propaganda de Goebbels decidió no utilizar por confusas razones ya había circ...

La Transicion espanola a la democracia ha sido objeto de uno de los mas solidos relatos construidos por el periodismo y refrendado por la sociedad civil. En su corazon tiene lugar un momento de violencia que se concentra en la llamada semana negra de enero de 1977, cuyo climax esta representado por la matanza de Atocha . El presente articulo analiz...

A solid tradition states that the Spanish Civil War was the first conflict to be covered "live" by cameras, in photography as well as in cinema. The main genres of what will become the new-born photojournalism are present on Spanish ground (bombardment on open cities, rear repression, refugees crisis, even concentration camps after the exodus towar...

The images of atrocity, either analog or digital, are always the trace of an encounter between the gaze of a photographer or a cameraman and a human being suffering from the painful effects of man-made violence. The archive images resulting from such an encounter raise some inevitable questions: who took them and for what purpose? Is it possible to...

El presente texto analiza las relaciones entre las vanguardias históricas que, desde comienzos del s. XX, transformaron el panorama de las artes plásticas y el naciente cinematógrafo. Partiendo de los primeros desencuentros, el texto recorre el estallido de los años veinte, particularmente con el dadaísmo y surrealismo, el giro realista a comienzo...

This essay examines the production and circulation of the mug shots of the detainees generated by the Khmer Rouge machinery at the centre of torture S-21 (Phnom Penh). When they were taken, these images played a key role in the process of identifying, repressing and killing those considered enemies during the regime of Democratic Kampuchea (1975-19...

The Spanish official newsreel during Franco's era (NO-DO) stands out for accompanying the life of the Dictatorship for almost its entire duration. Rather than being analyzed as sheer propaganda, this paper consideres it under Michel Billig's concept of 'banal nationalism'.

En parallèle à " L'Éloge de la terre " que le film de Vandy Ratanna, Monologue, a inspiré à Vicente Sánchez-Biosca, le magazine a également souhaité publier cet essai dans lequel l'historien entreprend une analyse détaillée de la production puis de la migration des mug shots (clichés anthropométriques) produits par les Khmers Rouges au centre de to...

Introduction to a monographic issue of that journal related to the problematics of the filmic and photographic archives.

Perpetrator images are those that are part of the machinery of destruction (torture, genocide…). This means that in them the act of violence and the apparatus of image production are interpenetrated. However, this condition does not predetermine the degree of personal, temporal, spatial implication between the two processes. And, in fact, several k...

The purpose of this chapter is to analyze the different genres of images (photographic as well as cinematic( representing the Cambodian Genocide. First, the text takes into account the liberator images registered by the Vietnamese upon arrival at S-21 torture and execution center; then, it analyzes the perpetrator images taken by the Khmer Rouge to...

The images of atrocity, either analog or digital, are always the trace of an encounter between the gaze of a photographer or a cameraman and a human being suffering from the painful effects of man-made violence. The archive images resulting from such an encounter raise some inevitable questions: Who took them and for what purpose? Is it possible to...

In the spring of 1942, a film crew sent by the Nazi Propaganda Minister, Joseph Goebbels, arrived in the Warsaw ghetto to film number of scenes in streets, restaurants, ritual baths, apartments, among other places. The film was pre-edited in a rough cut, but was never released. The reasons for this have not yet been clarified: did the authors fear...

En junio de 1971, el PCE organizó un gran mitin político en las cercanías de París. En él se presentaban ante una masa de militantes, simpatizantes y antifranquistas dos líderes, Dolores Ibárruri (Pasionaria) y Santiago Carrillo, que habían desempeñado un importante papel en la historia de España y que se preparaban para hacerlo en el futuro postfr...

This chapter aims at analyzing the role played by the Spanish Newsreel termed NO-DO as a nationalization factor during the Francoism (1943-1975). Recurring to Michael Billig concept of 'Banal Nationalism', the texts examines how the newsreel, unlike the press and the radio, avoids problematic issues in the information it published and embodies the...

This paper examines the mug shots of the detainees produced by the Khmer Rouge machinery at the center of torture and extermination called S-21. These images played a key role for the regime's perpetrators in the process of identifying, repressing and killing the numerous enemies that the paranoia of conspiracy had conceived between 1975 and the be...

N ella pagina a fianco: J akov Protazanov, Aelita, 1924 Montaggio. Ecco un termine tecnico che compare nelle lingue romanze per definire !'ultima fase dell' elaborazione del film, una volta che e stato girato. Tuttavia, questo vocabolo riveste anche una nozione teorica e poetica che altre lingue, come l'inglese, hanno dif-ferenziato mediante l'oppo...

In the cinematic representation of the Spanish Civil War, a particular style is established around the 1980s consisting of an aesthetic (careful shots, slow rhythm…), a type of narrative (memorial) and pragmatic conditions (child protagonists or youth facing their rites of passage, a preference for civil population instead of soldiers…). Announced...

En las páginas de la exquisita revista falangista Vértice, Florián Rey publicaba en 1944 un texto defendiéndose de la acusación de haber dirigido exitosas españoladas durante la época de la República. A pesar de la fidelidad del director a la causa franquista, el contexto de una éstética oficial atravesada por el lirismo garcilasista y la grandiloc...

Cinema and Other Forms of Entertainment Prior to the Arrival of Television (Vicente Sánchez-Biosca) Literary Adaptations (Sally Faulkner) Film and Television (Paul Julian Smith)

Introduction (Josetxo Cerdán) Non-Fiction Film during the Civil War (Vicente Sánchez-Biosca) NO-DO: The Francoist Newsreel (Vicente Sánchez-Biosca) Shorts, Documentary, Experimental Film, and Animation in Transhistorical Perspective (Josetxo Cerdán)

An Anomalous Cinema? A Cinema of Attractions Dialectics of the Avant-Garde Two Iconographies of the Popular From Propaganda Documentary to Plush Interiors Claustrophic Lighting Sets for a Cardboard Version of History Openings to Modernity: Realism and Editing Choreography and Musical Design: Something Different Holding the Image: The Aesthetics of...

Film Clubs (Román Gubern) Film Festivals (Román Gubern) Film Archives (Román Gubern) Film Preservation and Restoration (Ferran Alberich) Film Magazines from the 1930s to the 1960s (Román Gubern) Academic Film Journals since the 1980s (Vicente Sánchez-Biosca)

Tout en restant fideles a la lettre et aux événements racontés dans leurs mémoires écrits, les récits de Vrba et de Müller tels qu'ils ont été filmés et montés par Lanzmann dans Shoah s'enrichissent d'une série de recours qui proviennent du domaine de la fiction: une dramaturgie du témoignage, l'imposition d'un ordre séquentiel visant a l' efficaci...

La guerra civil española (1936-1939) asoló nuestro país con una contienda fratricida que dejaría huellas indelebles en varias generaciones de españoles. Al tiempo, otro combate no menos intenso se libró en el terreno de las ideas, cuya máxima expresión serían la propaganda política y los medios de comunicación de masas. Todas las disyuntivas intern...

As contribuições de Strand para o cinema estão estreitamente relacionadas com seus trabalhos fotográficos da época e mesmo com um olhar que, apesar de suas múltiplas diferenças, possui muitos pontos em comum. Se em Manhatta (1920), Strand (em colaboração com Sheeler) oferece uma síntese da natureza e da modernidade, em Redes (1934) o que predomina,...

El día 4 de enero de 1943, los primeros cines de España abrían su programa con la proyección de un material inesperado: un noticiario de unos diez minutos de duración que repasaba lo que ese franquismo a la sazón apresado entre las garras de la guerra mundial consideraba «actualidad nacional». El noticiario iba, además, precedido –la ocasión lo mer...

There is very little surviving film footage of José Antonio Primo de Rivera (1903–36), founding father of the Spanish fascist party, executed by republican forces during the Spanish civil war. However, after the victory of nationalist forces in 1939, the right-wing Franco dictatorship cultivated the image of Primo de Rivera as a fallen hero and pol...

NO-DO (Noticiarios y Documentales) fue desde 1943 el noticiario oficial del franquismo (concluyó en 1981), gozando de las prerrogativas de exclusividad y de proyección obligatoria en todos los cines de España. Voz oficial del régimen, NODO, nacido a casi cuatro años del final de la guerra civil, no corresponde a una fase de movilización política,...

El presente texto analiza la funci?n de la producci?n de im?genes (fotogr?ficas, pict?ricas, cinematogr?ficas, arquitect?nicas) en la mitolog?a franquista que se refiere a la guerra civil. El Alc?zar de Toledo fue un escenario emblem?tico de la guerra, un lugar de memoria por su resistencia, pero tambi?n un edificio aureolado de historia. A trav?s...

_l_ LA EMIGRACIÓN EN EL CINE: DIVERSOS ENFOQUES (ISBN 978-84-9887-124-1) Imaginarios dt lll emigración tspa/lola en los años sesenta: NO-OO, prestncias y ausencias Imaginarios de la emigración española en los años sesenta: NO-DO, presencias y ausencias El fenómeno de la emigración laboral a Europa durante los años del desarrollismo franquista (se c...

Los fastos de la victoria nacional consumada el primero de abril de 1939 se prolongaron, como es bien sabido, durante meses!. Todas las ciudades ocupa-das (liberadas, según el discurso nacional) tiempo antes, renovaron sus celebra-ciones, pues en ellas resonaba el triunfo total. Los actos de homenaje, las misas de campaña, las conmemoraciones en lu...

Los fastos de la victoria nacional consumada el primero de abril de 1939 se prolongaron, como es bien sabido, durante meses!. Todas las ciudades ocupa-das (liberadas, según el discurso nacional) tiempo antes, renovaron sus celebra-ciones, pues en ellas resonaba el triunfo total. Los actos de homenaje, las misas de campaña, las conmemoraciones en lu...

The nationalist discourse in the Spanish civil war was not confined to propaganda but was rather conceived as a veritable myth-making machine. Taking their inspiration from the intellectual traditions of the Spanish right, and hinging on the key figure of Menéndez Pelayo along with some notions borrowed from the Generation of ‘98, Falangist ideolog...

El Noticiario Cinematográfico Español, popularmente conocido como NO-DO, vio las pantallas cinematográficas por vez primera en enero de 1943. Creado como instrumento audiovisual del nuevo Estado, gozó durante décadas del privilegio de su exclusividad y su proyección fue obligatoria en todos los cines de España. A pesar de los numerosos cambios que...

Journeys of Desire offers for the first time, a comprehensive critical guide to European actors in American film, bringing together 15 overview chapters with A-Z entries on over 900 individuals in one accessible and scholarly volume. Since the early days of the US film industry, European actors have consistently been a major force in Hollywood. Scr...

Résumé L’expérience de l’exil en tant que dépossession a d’habitude été transmise de façon orale. Moins fréquente est la mise en images de cette expérience ou, autrement dit, l’utilisation du film comme support de la mémoire de l’exilé. Tel est le cas du film En el balcón vacío (1961), scénarisé par María Luisa Elío et réalisé par Jomí García Ascot...

Tomando como objeto de análise o documentário Shoah, este artigo estabelece relações entre imagem, representações, história e memória.

Quelle que soit l'indifférence de NO-DO a l'égard del'actualité nationale et internationale, il n'en reste pas moinspertinent de déterminer le rôle que les autorités du régime lui conféraient en ce qui concerne la création d'une image (peu importe qu'elle eût été presque intemporelle) de la vie idéale du pays, en accord avec l'idéologie franquiste....

El presente texto analiza cómo el noticiario oficial del franquismo, conocido popularmente como NO-DO, dio cuenta a lo largo de las dos primeras décadas del régimen de la ciencia. Contra la primera sensación, el noticiario encuadró la ciencia en varios géneros, siendo el de divulgación científica el menos voluminoso. La aplicación de la ciencia en...

Il est une dualite imaginaire qui domine la representation du corps dans les discours audiovisuels de ces derniers temps. D’une part, ce que l’on pourrait appeler la « decorporeisation », comme perte subtile d’une evocation quelconque de la chair. C’est l’imagerie laissant sa marque indelebile sur la publicite, les corps des stars classiques du cin...

This book's aim is to analyze some manifestations of the modern or postmodern culture as represented through the media. Its three main themes are the remediation (and figures of distance towards sources), the body in its extreme formes (violence, metamorphosis...) and the new forms of narrative with a significative tendency not to finish. The three...

Cat People (Lewton-Tourneur, 1942) est traverse par une poetique de l’incertain. C’est essentiellement ce qui l’oppose a la fois a la tradition gothique des films fantastiques des annees quarante et aux films d’epouvante actuels. La subtilite des relations entre le vu et le non-vu, le role primordial accorde au silence et au non-dit, toute une rhet...

We could say that the avant-garde at the beginning of the century received the advent of cinema enthusiastically; that is not strange. Though the differences between groups, movements, works, or acts that are included under this arrogant name are sometimes too vast, there was a similar project — or group of projects — whose aim was to proclaim the...