Özet:

Abstract In the autobiographical documentary The Missing Picture, the Cambodian filmmaker Rithy Panh tells his memories about the start of comunist dictatorship commanded by Khmer Rouge in Cambodia between 1975 and 1979. One of the measures undertook by the regime was the eradication of personal archives of the inhabitants of the city of Phnom Penh - photo albums, clothes, objects etc. At the same time, the regime produced propaganda movies to represent the dictatorship as a way to convey harmony, law and progress, as well as pictures of prisoners in concentration camps. In Rithy Pahn’s movie, the director goes after these archives and contrasts them with the absence of archives which could describe his personal experience. In this writing of himself, connected to the creation of a historical account, Pahn creates small dioramas and clay dolls which work as sets of his memories. In this mix of dioramas and film frames, the director chooses the form of the essay film for his movie, using resources such as the poetic use of the archival materials; the dialectic between images of different aesthetics and origins; and the relation between factual images and subject discourses. The essay film helps Pahn to retrieve his personal experience and to analyze the dictatorship archives and also as material to propose an imaginative collective and historical account of a nation. In this article, I analyze how the essayistic look expands the ways of interpreting a documental image and re-negotiate the ways of historical account, understanding how both cross each other out setting.

Anahtar Kelimeler: