Part 1 INTRODUCTIONChapter 2 1. Excess of Memory?Chapter 3 2. Historical Preamble to Set the SceneChapter 4 3. Testimony, Literature, and Film as Vectors of MemoryPart 5 PART ONE: The Testimonial EncounterChapter 6 4. The Hospitality of Listening as InterruptionChapter 7 5. Staging the Ob-SceneChapter 8 6. Becoming Heirs and Going on HauntedPart 9 PART TWO: Dismembering Remembering: "Rwanda: Writing as a Duty to Remember"Chapter 10 7. We Came, We Saw... We ListenedChapter 11 8. Belated Witnessing and Preemptive PositioningChapter 12 9. Between Highlights and Shadows: Tadjo's EntriesChapter 13 10. Writing as Haunting Pollination: Lamko's ButterflyChapter 14 11. Polyvocal Dismembering: Diop's Remembering of MurambiPart 15 PART THREE: Screening Memory and (Un)Framing Forgetting: Filming Genocide and its Aftermath in RwandaChapter 16 12. No Neutral ShootingChapter 17 13. Close-up on some Recurrent Facts and FiguresChapter 18 14. A Pedagogy Against Forgetting that Sometimes Forgets ItselfChapter 19 15. Historical and Contextual Trompe-l'oeilChapter 20 16. Ob-Scene Off-Screened: A Genocide Off-CameraChapter 21 17. The Heir or the Return of the Off-ScreenedPart 22 EPILOGUE: On Turning the PageChapter 23 18. Testimony, Memory, and Reconciliation in the Era of Gacaca
Writing and Filming the Genocide of the Tutsis in Rwanda: Dismembering and Remembering Traumatic History is an innovative work in Francophone and African studies that examines a wide range of responses to the 1994 genocide of the Tutsis in Rwanda. From survivor testimonies, to novels by African authors, to films such as Hotel Rwanda and Sometimes in April, the arts of witnessing are varied, comprehensive, and compelling. Alexandre Dauge-Roth compares the specific potential and the limits of each medium to craft unique responses to the genocide and instill in us its haunting legacy. In the wake of genocide, urgent questions arise: How do survivors both claim their shared humanity and speak the radically personal and violent experience of their past? How do authors and filmmakers make inconceivable trauma accessible to a society that will always remain foreign to their experience? How are we transformed by the genocide through these various modes of listening, viewing, and reading?