ABSTRACT
Chapter III revolves around the portrayal of a perpetrator that varies from film to film, depending on the degree of representation that each film submits to. While a few films resort to the strategies of over-representation, the use of the grotesque and hyperbole, other films shift away from such forms and focus on dead time in warfare or the paratactic ordering of an unconnected narrative. Finally, films of non-representation attest to a failure to remember the commission of war crimes and the silent complicity in their cover-ups. By introducing LaCapra’s notion of “perpetrator trauma” and its relation to a narrative, a discussion about the possible drawbacks of non-representation can be initiated. The treatment of guilt and accountability come under careful scrutiny.
