Posmemoria y trauma animado de la imagen perdida. Los planteamientos narrativo y estético de Funan de Denis Do
[EN] Funan (2018) is the title of the debut film by the French director, of Cambodian origin, Denis Do. The film, winner of the Crystal for Best Film at the Annecy Festival, tells the story of Chou and his family, forced to evacuate the city of Phnom Penh with the rise of the khmer rouge. Thus, the...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2021 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español |
| OAI Identifier: | oai:riunet.upv.es:10251/163843 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/163843 |
| Access Level: | acceso abierto |
| Palabra clave: | Cambodia Khmer rouge Postmemory Rithy Panh Tian Vann Nath Camboya Jemeres rojos Posmemoria |
| Sumario: | [EN] Funan (2018) is the title of the debut film by the French director, of Cambodian origin, Denis Do. The film, winner of the Crystal for Best Film at the Annecy Festival, tells the story of Chou and his family, forced to evacuate the city of Phnom Penh with the rise of the khmer rouge. Thus, the film is developed as an artistic work established by the postmemory generation around traumatic events that have not been directly experienced but are fictionalized though animation. The objective of this article is to explore the narrative and aesthetic approaches of the work in relation to three clear references based on the Cambodian genocide: the graphic novel L'année du lièvre (2011) by Tian, the film The Lost Image (L’image manquante, 2013) by Rithy Panh, and finally, the artistic universe of the painter Vann Nath. |
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