Photography, Film and Visibly Wounded Genocide Survivors in Rwanda
Photography, Film and Visibly Wounded Genocide Survivors in Rwanda
复制标题
卢旺达的摄影、电影和明显受伤的种族灭绝幸存者
DOI：
10.1080/14623528.2018.1522818
复制
发表时间：
2018
影响因子：
1.5
通讯作者：
Norridge Z
中科院分区：
文献类型：
--
作者：
Norridge Z
在过去的二十年里，越来越多的摄影师和电影制片人代表了1994年卢旺达对图西族种族灭绝的幸存者。国际摄影师对这场暴力事件的后果做出回应，往往把重点放在见证当时世界未能承认的种族灭绝上。这样做的一个策略是突出少数明显受伤的种族灭绝幸存者，他们在不同艺术家的作品中反复出现。本文分析了六个这样的残疾幸存者的代表性，探讨不同的艺术策略的优势和局限性，并跟踪其随时间的演变。在这样做的过程中，它借鉴了残疾理论、背景材料和对卢旺达艺术家的采访。虽然一些摄影师继续将幸存者的可见伤口作为隐喻，但当视觉图像伴随着扩展的文本或对话时，这往往是复杂的。最近的工作，包括卢旺达艺术家的工作，进一步优先考虑幸存者的观点和正在进行的生活经历，而不仅仅是1994年的种族灭绝事件。
Over the past two decades survivors of the 1994 genocide against the Tutsi in Rwanda have been represented by an increasingly varied range of photographers and filmmakers. International photographers responding to the aftermath of this violence have tended to focus on bearing witness to a genocide that the world failed to acknowledge at the time. One strategy for doing this has been to foreground a relatively small number of visibly wounded genocide survivors who recur in work by different artists. This article analyses representations of six such disabled survivors to explore the strengths and limitations of varying artistic strategies and trace their evolution across time. In doing so it draws on disability theory, contextual material and interviews with Rwandan artists. Whilst some photographers continue to instrumentalize the visible wounds of survivors as metaphor, this is often complicated when the visual image is accompanied by extended text or dialogue. More recent work, including work by Rwandan artists, further prioritizes the survivor’s perspective and ongoing lived experiences rather than solely the events of genocide in 1994.
复原力的图像：视觉恢复叙事的案例
DOI：
--
发表时间：
2016
期刊：
影响因子：
--
作者：
N. Dahmen
通讯作者：
N. Dahmen