@inbook{41550c6e94eb44d08cc0dbb97755148e,
title = "Moving Images: Modes of Representations and Images of Victimhood in Audio-Visual Productions",
abstract = "This chapter is an analysis of how audio-visual representations of the work of international criminal tribunals create narratives around victims. It highlights one important aspect of those narratives: they do not merely reflect and represent, they also create. More specifically, victims and victimhood are not pre-given categories, but are instead constituted via acts of representation, including audio-visual ones. Viewing this material through the lens of a typology of modes of representation in documentary film theory, this chapter argues that audio-visual productions have created different types of victims. Whereas advocacy documentaries have produced {\textquoteleft}ideal{\textquoteright} victims, critical documentaries {\textquoteleft}argumentative victims{\textquoteright}, and observatory documentaries {\textquoteleft}translated victims{\textquoteright}, audio-visual materials produced by the International Criminal Court itself have presented {\textquoteleft}bureaucratized victims{\textquoteright}.",
author = "S. Stolk and W.G. Werner",
note = "Working title: Moving Images: Documentary Film and Audiovisual Promotion of the ICC",
year = "2020",
month = feb,
doi = "10.1093/law/9780198825203.003.0026",
language = "English",
isbn = "9780198825203",
series = "Oxford Handbooks",
publisher = "Oxford University press",
pages = "583–598",
editor = "Sarah Nouwen and Fred Megret and Heller, {Jon Kevin} and Jens Ohlin",
booktitle = "The Oxford Handbook of International Criminal Law",
}