Perpetrator cinema is a new global phenomenon, an unprecedented 21st-century boom in films that deal with genocidal or other mass-killing events by focusing on the perpetrator figure as their main protagonist or interviewee.1¹ In many respects it sheds light on the 21st-century emergence of the new psychological-social-political era of the perpetrator. None of these films, however, is based on a direct confrontation between a first-generation survivor and a perpetrator. Even those that attempt to stage this confrontation – such as As We Forgive (USA, 2010), Laura Waters Hinson’s film about Rwanda – eventually pull back from or otherwise avoid its representation.2² Joshua Oppenheimer, Christine Cynn and Anonymous’s The Act of Killing (UK/Denmark/Norway, 2012) equally fails to enable such a confrontation, despite according centre stage to the paramilitary perpetrators responsible for massacres in Indonesia during the 1960s. Oppenheimer’s sequel, Senyap/The Look of Silence (Denmark/Indonesia/Finland/Norway/UK/Israel/France/USA/Germany/Netherlands, 2014), refers to the same historical events as The Act of Killing and partially stages this confrontation, but in representing family relationships, among other topics, it is not based entirely on this format. It differs, moreover, from what I characterize below as a ‘duel’ in describing the extraordinary confrontations characteristic of Cambodian perpetrator cinema, as neither Oppenheimer nor Cynn (co-director for The Act of Killing) are first-generation survivors confronting the perpetrator, and we cannot know the status of third co-director, Anonymous.

中文翻译：

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大作案者柬埔寨电影，纪录片对决和道德怨恨

肇事者电影是一种新的全球性的现象，在电影中前所未有的21世纪的热潮对付种族灭绝或其他大规模杀伤着眼于犯罪者数字作为自己的主角或interviewee.1事件¹在很多方面，它在21个大棚光世纪以来，犯罪者的新的心理，社会，政治时代出现了。然而，这些电影都没有基于第一代幸存者和犯罪者之间的直接对抗。即使是那些试图策划这出对抗-比如当我们原谅（美国，2010），劳拉·沃特斯辛森的有关卢旺达电影-最终从拉回来或以其他方式避免其representation.2 ²约书亚·奥本海默，恭Cynn和匿名的杀人行为（英国/丹麦/挪威，2012年）同样未能实现这种对抗，尽管在1960年代负责印尼大屠杀的准军事肇事者处于中心位置。奥本海默的续集《塞尼亚普/沉默的神色》（丹麦/印度尼西亚/芬兰/挪威/英国/英国/以色列/法国/美国/德国/荷兰，2014年）指的是与《杀戮法案》相同的历史事件，并部分化解了这场对抗，但是在代表家庭关系以及其他主题时，它并不完全基于这种格式。此外，它与以下我描述为柬埔寨行凶电影院非凡对抗特征的“决斗”不同，既不是奥本海默（Oppenheimer）也不是辛（Cynn）（《杀戮法案》的联合导演））是面对犯罪者的第一代幸存者，我们不知道第三任联合导演Anonymous的身份。