Writing and filming the genocide of the Tutsis in Rwanda : dismembering and remembering traumatic history
Author(s)
Bibliographic Information
Writing and filming the genocide of the Tutsis in Rwanda : dismembering and remembering traumatic history
(After the empire)
Lexington Books, c2010
Available at 2 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Bibliography: p. 271-283
Includes index
Description and Table of Contents
Description
Writing and Filming the Genocide of the Tutsis in Rwanda: Dismembering and Remembering Traumatic History is an innovative work in Francophone and African studies that examines a wide range of responses to the 1994 genocide of the Tutsis in Rwanda. From survivor testimonies, to novels by African authors, to films such as Hotel Rwanda and Sometimes in April, the arts of witnessing are varied, comprehensive, and compelling. Alexandre Dauge-Roth compares the specific potential and the limits of each medium to craft unique responses to the genocide and instill in us its haunting legacy. In the wake of genocide, urgent questions arise: How do survivors both claim their shared humanity and speak the radically personal and violent experience of their past? How do authors and filmmakers make inconceivable trauma accessible to a society that will always remain foreign to their experience? How are we transformed by the genocide through these various modes of listening, viewing, and reading?
Table of Contents
INTRODUCTION
1. Excess of Memory?
2. Historical Preamble to Set the Scene
3. Testimony, Literature, and Film as Vectors of Memory
PART ONE: The Testimonial Encounter
4. The Hospitality of Listening as Interruption
5. Staging the Ob-Scene
6. Becoming Heirs and Going on Haunted
PART TWO: Dismembering Remembering: "Rwanda: Writing as a Duty to Remember"
7. We Came, We Saw... We Listened
8. Belated Witnessing and Preemptive Positioning
9. Between Highlights and Shadows: Tadjo's Entries
10. Writing as Haunting Pollination: Lamko's Butterfly
11. Polyvocal Dismembering: Diop's Remembering of Murambi
PART THREE: Screening Memory and (Un)Framing Forgetting: Filming Genocide and its Aftermath in Rwanda
12. No Neutral Shooting
13. Close-up on some Recurrent Facts and Figures
14. A Pedagogy Against Forgetting that Sometimes Forgets Itself
15. Historical and Contextual Trompe-l'oeil
16. Ob-Scene Off-Screened: A Genocide Off-Camera
17. The Heir or the Return of the Off-Screened
EPILOGUE: On Turning the Page
18. Testimony, Memory, and Reconciliation in the Era of Gacaca
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