The History of Genocide in Cinema: Atrocities on Screen

Cover
Half-title
Endorsement
Title page
Copyright information
Table of contents
Contributing Authors
Introduction
1 Settler Colonialism and Genocide in Australia
	Denying the Australian Genocide
	Contesting Genocide on Film
	Cinematic Specificity
	Indigenous Filmmakers
	Conclusion
2 No Good Samaritans: Explaining African Colonialism and Underdevelopment in Popular African Films
	They Saw, They Formed Empires
	The White Man’s Burden, Hollywood’s Propagandists
	Rodney’s Underdeveloped Africa
	The Films
3 “White Saviors” Unable to Save the “Other” in Hollywood’s Genocidal West
	Last of the Mohicans
	A Man Called Horse
	Little Big Man
	Dances with Wolves
	Hidalgo
	Conclusion
4 Genocide as European Empire Building: The Slaughter of the Herero of Namibia
	From Europe to Africa: Setting the Scene
	Racism
	Concentration Camps and Slave Labor
	History and Historicism
	A Need for African Historiography and Histories of Genocide
	Medicine and Experiments
	From Namibia to Germany: The Colonial Roots of the Nazi Holocaust
	Twenty-First Century: Prospects of Reconciliation
5 The Armenian Genocide in Film: Overcoming Denial and Loss
6 The Ukrainian Famine of 1932–1933 on Screen: Making Sense of Suffering
	“One-of-a-Kind:” Ukrainian Holodomor and Irish Gorta Mór
	Re-Imagining the Holodomor: Collective Trauma in Feature Film
	Conclusions
7 The Holocaust in Feature Films: Problematic Current Trends and Themes
8 Slaughter in China on Film: Nanjing and “Saving Asia” through Mutilation
	Black Sun: The Nanking Massacre (1995)
	City of Life and Death (2009)
	Flowers of War (2011)
9 Bangladesh: The Forgotten Genocide
	Background History: From East Pakistan to Bangladesh
	Reporting the Horrors of Genocide
	Heroic Efforts of Freedom Fighters
	Backdrop for Human Interaction
	Films About Women
10 Argentina’s Dirty War on Film: The Absent Presence of The Disappeared
11 Featuring Acts of Genocide in Chilean Film
12 Screening the Killing Fields: The Cambodian Genocide on Film
13 “This time we’re going to hit them without mercy”: Indonesian Operations and East Timor’s First Feature Film
	The Marriage of Beatriz (Sandra Da Costa) and Tomas (Raimundo Dos Santos)
	Beatriz and Tomas Survive the Conventional War and the Famine
	Cultural Motifs
	Australian Complicity and Beatriz’s War
	“This time we’re going to hit them without mercy”
	The CAVR Report as a Hidden Script
	The Puzzling Absence of FRETILIN
	Indonesia’s Receptivity to the Film
14 The Guatemalan Genocide on Film: An Ongoing Crisis and Omission
	When Mountains Tremble
	Granito
	Haunted Land: Le pays hanté, la Palabra Desenterrada and Discovering Dominga
	The Silence of Neto
	Conclusion
15 Cinematic Witnessing of the Genocide in Bosnia 1992–1995: Toward A Poetics of Responsibility
16 “Truth” in Films about the Rwandan Genocide
	Hotel Rwanda
	Sometimes in April
	Beyond the Gates
	Shake Hands with the Devil
	Comparisons
17 Stop a Genocide or Act in the National Interest?: A Comparative Examination of Hotel Rwanda and Attack on Darfur
	Overview of Hotel Rwanda
	Overview of Attack on Darfur
	Changes to International Law
	Conclusions
18 Adults in Children’s Bodies: Disabling Children in Bahman Ghobadi’s Films
	Grievability and the Al-Anfal Campaign
	Portrayal of Kurdish Children and Vulnerability in Ghobadi’s films
	Disabling and Disturbing Children in Turtles Can Fly
	Conclusion
Epilogues
	Epilogue
	Epilogue: Genocide Art or “Kitsch”?
Notes
Index