... on the question: “What does it mean for my family or me to forgive the Khmer Rouge?” — Socheata Poeuv On January , more than eighty thousand Cambodians gathered in Phnom Penh’s Olympic Stadium to commemorate the day Vietnamese...

... a fellowship so I can reflect and write about trauma, arts, and history. It was April 17, 1975, that the Khmer Rouge entered the city of Phnom Penh, the place of my birth — It is exactly thirty years ago. It is hard to imagine that I survive and am...

... productively explore the dissonance between moder- nity’s disenchanted time and the spectral temporality of haunting in which the presumed boundaries between past, present, and future are shown to be shockingly permeable. In Rouge...

...” does not negate reality; it extends reality beyond transplanted thresholds of comprehension, as the new Hong Kong cinema struggles to face the transfer of its own sovereignty from one state to another. Stanley Kwan’s Rouge uses the extremes...

... Boran is a Cambodian refugee who as a very young child came to the United States with his family in the s, having ed the brutal Khmer Rouge. After serving a sentence for a crime he committed as a young man, he was not released but instead...

... in Tamura’s time because her type of creativity, “women’s literature,” was already dismissed as dispensable and residual writing. Tamura’s dissatisfaction at being a woman writer is explicitly described in “A Mummy’s Rouge” (“Miira no kuchibeni...

... the Khmer Rouge marched into Phnom Penh, Cambo- dia. That fateful spring is an indelible historical referent not just for Cam- bodians but also for Vietnamese and Laotians. The long, tortuous political histories of former “Indochina,” de ned as much...

... utilizes Deleuze’s typing of cinematic time-images to analyze the different mixtures of the indiscernible, the actual, and the possible in Wong Kar-wai’s Center Stage, of spectral recollection in Stanley Kwan’s Rouge, and of falsifying memories...

... are “naturally so red that they looked as if they had been rouged” (SO, IOfinds the artifice of the female sex cause for disgust. He justifies his lack of interest in women with an enumeration of their “objectionable features...

... 680 Books Collective La révolution prolétarienne en France et comment construire le Parti de l’épo- que de la pensée de Mao-Tsé-toung. Paris: Librairie du Livre rouge, 1970. 131 pages. Première année d’existence d’une...

.... A film such as Stan- ley Kwan’s Rouge [Yanzhi kou] (1987) illustrates a nostalgia for the obsessive and decadent love that no longer seems possible in contemporary life. By comparison, the past in The Intimates is associated with something far less...

... paradoxically receives a positive twist insofar as it would open up a much wider space for cultural and ideological freedom. Christophe Bourseiller, in Les maoïstes: La folle histoire des gardes rouges français (1996), completely...

... is that of an abandoned street. In the background are concrete shop- house blocks. The buildings appear intact although the street is otherwise deserted. The caption reads “the genocidal regime” (robob broleypuichsas), a pointed reference to the Khmer Rouge. Its...

.... Overlaid and intertwined with these images are the fantastical images of disappearance, of euphoria in the margins, and of colonial and sexual violation. The past returns in these moments: on the walls of an antiseptic shopping mall in Rouge (1987...

... to Cambodia with his master’s degree in ne arts, only to become, with his fellow city dwellers, “slaves” for the Khmer Rouge at war’s end.15 After the Vietnamese invasion of Cambodia ended the genocidal rule of the Khmer Rouge, Sam Oeur worked...

... of the Century) (paper presented at “Les conferences du rouge gorges,” held at the Maison des ecrivains, Paris, 2002), which we refer to in order to extend the category of party-state to the entire statehood of the twentieth century...

... at a scholarly conference —  our conference — of a published work about his own survival during the murderous Khmer Rouge purges in Cambodia, where he was born. Ly bracketed the reading of his essay with recorded music and projected onto...

... was Vietnamese, which brought specific complications. Hien's mother was told she was herself “Vietnamese” and must pay $100 for a birth certificate for each of her six children. Having lost her Cambodian identity documents during the time of the Khmer Rouge regime, Hien's mother could not prove her Khmer...

... led a peace walk from Thailand to Cambodia right after the Khmer Rouge genocide in “The Buddha called the practice of mindfulness ‘the only way.’ Always in the present. At this very moment. From moment to moment. In all activity...

... suggest important theoretical and methodological interventions into how one studies “trauma art.” Examining post–Khmer Rouge cultural pro- ductions, Judy Ledgerwood, Judith Hamera, Rachel Hughes, and Boreth Ly, trouble the relationships...