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La imagen perdida ( L’image manquante / The Missing Picture , Rithy Panh, 2013) constituye una indagacion, a la vez intimista e historica, acerca de las posibilidades, y por tanto tambien los limites, de cualquier imagen para capturar acontecimientos extremos de la historia y de la experiencia humana del dolor, en este caso ante el teatro del genocidio camboyano perpetrado por los Jemeres Rojos (1975-1979). En realidad, las imagenes que se utilizan en ambitos documentales y ficcionales para representar el genocidio son de muy diversa condicion. En primer lugar, este articulo expone las modalidades de dichas imagenes en funcion de su relacion con los hechos y el tipo de mirada que las funda (imagenes de perpetradores, de liberadores, testimoniales, post facto…) para adentrarse mas tarde en el estudio de otras formas carentes de soporte fisico (imagenes espectrales, traumaticas o interiores). Una vez considerada su migracion en el tiempo y el tejido iconico que entre todas conforman, el articulo estudia como actuan estos distintos tipos de imagen en el film y como, ademas de imagenes socializadas, Rithy Panh da forma a imagenes memoristicas incorporeas. Palabras clave: imagen y atrocidades, genocidio camboyano, Rithy Panh, cine documental. Abstract: L’image manquante / The Missing Picture (Rithy Panh, 2013) might be considered an investigation, both intimate and historical, on the possibilities and limits for any image to represent atrocities and the experience of atrocities. The theatre of this reflection is the Cambodian genocide (1975-1979). As a matter of fact, the range of images commonly used to embody the extermination perpetrated by the Khmer Rouge are extremely varied. First, this article analyzes their modality in relation to the facts they are supposed to convey, in particular, the kind of gaze they put forward so as to distinguish among perpetrators images, liberators images, testimonial images, images post facto. Then, it takes into consideration other images lacking physical support, such as spectral images, traumatic images and inner images. Once these cases have been studied in their interaction as well as in their temporal migration, this article closely examines how they intervened in the film and the way Rithy Panh gives shape to these incorporeal memorial images. Keywords: image and atrocities, Cambodian genocide, Rithy Panh, documentary film.

secuencias

El eslabón perdido de las imágenes en el genocidio camboyano: En torno a La imagen perdida (Rithy Panh, 2013) / The Missing Link in the Images of the Cambodia Genocide: On The Missing Picture (Rithy Panh, 2013)