Citation:
Full Text
I. B. Tauris Publishing
Table of Contents:
Introduction
From Victim to Perpetrator Trauma
Part I: Victim Trauma
1. The Body as the Battlefield
2. Chronic Victim Trauma and Terror
3. Queerness, Ethnicity, and Terror
Part II: Perpetrator Trauma
4. The New Wave of Documentary Cinema: The Male Perpetrator
5. The New Wave of Documentary Cinema: The Female Perpetrator
6. The New Wave of Documentary Literature
Conclusion
The Perpetrator Complex
Book Reviews:
1. Bill Nichols, Studies in Documentary Film 8.1 2014: 81-85.
2. Laliv Melamed Historical Journal of Film, Radio and Television 34: 1-4. http://www.tandfonline.com/doi/pdf/10.1080/01439685.2014.943985#.VEy3T_1...
Endorsments:
'The concept of the social 'victim' as a significant focus of the realist tradition in documentary film was first proposed in 1988 during an earlier phase of documentary film studies. It has since become something of a given. Raya Morag’s Waltzing with Bashir is a critically important further contribution arguing for a significant rethinking of this central idea. It goes beyond (but does not ignore) aesthetics to grapple with the vexed issue of the representation of extreme violence and other trauma in the documentary and elsewhere to raise the consequences of the representation of such events not only for the victims but also for the perpetrators. Waltzing with Bashir emerges from a strand of oppositional Israeli thinking which is too little known outside of the country. Morag raises issues that make the already complex questions of documentary ethics even more difficult. Such a twin agenda requires a breadth of scholarship, sensitivity and acute political understanding. She is more than equal to the task, and the book is an important addition to the literature on documentary ethics at hand. Because of its originality and the gravity of its subject, I am confident that this book will be widely noticed.'
Brian Winston, Lincoln School of Journalism, The University of Lincoln, UK
'It is time to think about the trauma of perpetrators, not because they are without guilt, but because they are the ghostly other side of the equation necessary to understanding guilt. This is an eye-opening book.'
Linda Williams, Department of Film and Media, UC Berkeley, USA