ABSTRACT Using Joshua Oppenheimer’s documentary films about mass killings in Indonesia – The Act of Killing (2012) and The Look of Silence (2014) – as an entry point, this article explores how perpetrators remember the past and how it is interpreted by them in the present in relation to this particular socio-historical context using a Bourdieusian approach. As represented in both films, perpetrators justified their killings as mechanisms of struggle; not only in order to accumulate cultural capital but also to reproduce ‘doxa’, which strengthens their dominant position in the hierarchical fields of struggle. Silence as doxa creates conditions for perpetrators to be able to maintain and re-justify their acts as heroic. In contrast, as shown in the films, victims remain stigmatized as villains in the history of Indonesia. This article also reveals the inequality of social positions influenced how perpetrators reinterpreted their memories of mass killings and how they survive as they grow older.

中文翻译：

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用布迪厄理解《杀戮行为》和《沉默的眼神》中的肇事者

摘要 以约书亚·奥本海默 (Joshua Oppenheimer) 的关于印度尼西亚大屠杀的纪录片——《杀戮行为》(2012) 和《沉默的眼神》(2014)——为切入点，本文探讨了肇事者如何记住过去以及他们如何在使用布迪厄斯的方法呈现与这个特定的社会历史背景相关的内容。正如两部电影所表现的那样，肇事者将他们的杀戮辩护为斗争的机制；不仅是为了积累文化资本，而且是为了再现“doxa”，这加强了他们在等级斗争领域的主导地位。沉默作为doxa 为肇事者创造了条件，使他们能够维持并重新证明他们的英勇行为是正当的。相比之下，正如电影中所示，受害者在印度尼西亚历史上仍然被污名化为恶棍。