International criminal justice is filled with living, dead, and dying bodies. While witnesses detail atrocities in the courtroom, such testimonies are largely considered for their evidentiary value to establish innocence or guilt. In this article, I explore how death, grief, and mourning are represented at the International Criminal Tribunal for the former Yugoslavia (ICTY). I focus on the ICTY documentary, Crimes Before the ICTY: Višegrad, to analyse how filmic representations of international criminal justice register dead, dying, and grieving bodies. Drawing on Queer Death Studies and relational ontologies, I explore the more-than-human and non/living worlds through which death, grief, and mourning are represented in the film. A queer relational approach reveals and challenges the construction of the dead as evidence and death worlds as crime scenes. This approach illuminates how the natural world and buildings, bridges, and artifacts are vestiges, witnesses, and sites of death and grief in Višegrad. My analysis explores how these representations in the ICTY documentary reinforce civilizational logics and reductive representations of violence at the same time as they illuminate relational encounters of death and dying in international criminal justice, thus enriching attempts to see, know, and feel loss in the wake of violence.

中文翻译：

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前南问题国际法庭电影中的死亡、悲伤和哀悼：探索关系世界和非生命世界

国际刑事司法充满了生者、死者和垂死的尸体。虽然证人在法庭上详细描述了暴行，但此类证词在很大程度上被认为具有确定无罪或有罪的证据价值。在本文中，我探讨了前南斯拉夫问题国际刑事法庭 (ICTY) 是如何体现死亡、悲痛和哀悼的。我重点关注前南问题国际法庭的纪录片《前南问题国际法庭前的罪行：维舍格勒》，分析国际刑事司法的电影表现如何记录死亡、垂死和悲伤的尸体。借鉴酷儿死亡研究和关系本体论，我探索了超越人类和非/生命的世界，通过这些世界，死亡、悲伤和哀悼在电影中得以体现。酷儿关系方法揭示并挑战了将死者作为证据和将死亡世界作为犯罪现场的构建。这种方法阐明了自然世界以及建筑物、桥梁和文物如何成为维舍格勒的遗迹、见证者以及死亡和悲伤的场所。我的分析探讨了前南问题国际法庭纪录片中的这些表述如何强化文明逻辑和对暴力的简化表述，同时阐明国际刑事司法中死亡和垂死的相关遭遇，从而丰富了人们在事后看到、了解和感受失落的尝试。的暴力。