The case study considered by the authors of this article is a peculiar example of a documentary that intervened in the landscape of democratization conflicts in the opaque context of current democracy in Indonesia. Half a century after the genocide, the film reopens the memory of a terrible and non- elaborated past, questioning the impact of the genocide in a difficult democratization process. Is it possible to move from an authoritarian regime that infected and corrupted all aspects of civil coexistence to a new and supposedly more democratic era without working through its traumatic legacy? What role might remorse and forgiveness play in the foundation of a possible new democratic pact? Joshua Oppenheimer’s film, The Act of Killing, confronts all these questions through the documentary use of the Indonesia genocide perpetrators’ words, body images, silences and denials. Engaging the images of this film through a semiotic perspective, the authors interrogate the relationship between aesthetic texts and political emancipating processes, as well as the role of traumatic memory elaboration in the foundation of democratization. Essential for their analysis is the investigation of how moving images are implicated in the imagination and actions of perpetrators, including their possible functions and effects in relation to the audience.

中文翻译：

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记录行为：约书亚·奥本海默 (Joshua Oppenheimer) 的《杀戮行为》

本文作者考虑的案例研究是纪录片的一个特殊例子，该纪录片在印度尼西亚当前民主的不透明背景下干预了民主化冲突的格局。在种族灭绝半个世纪之后，这部电影重新唤起了人们对一段可怕的、未详细阐述的过去的记忆，质疑种族灭绝在艰难的民主化进程中的影响。是否有可能在不解决其创伤性遗产的情况下，从一个感染和腐蚀公民共存各个方面的威权政权转变为一个新的、据称更加民主的时代？在可能的新民主协议的基础上，悔恨和宽恕会扮演什么角色？约书亚·奥本海默 (Joshua Oppenheimer) 的电影《杀戮行为》(The Act of Killing) 通过纪录片使用印度尼西亚种族灭绝肇事者的话来直面所有这些问题，身体意象、沉默和否认。作者通过符号学的视角来处理这部电影的图像，询问美学文本与政治解放过程之间的关系，以及创伤记忆阐述在民主化基础中的作用。他们的分析必不可少的是调查运动图像如何与犯罪者的想象和行为有关，包括它们对观众的可能功能和影响。