Abstract
INTRODUCTION 1. Excess of Memory? 2. Historical Preamble to Set the Scene 3. Testimony, Literature, and Film as Vectors of Memory PART ONE: The Testimonial Encounter 4. The Hospitality of Listening as Interruption 5. Staging the Ob-Scene 6. Becoming Heirs and Going on Haunted PART TWO: Dismembering Remembering: Rwanda: Writing as a Duty to Remember 7. We Came, We Saw... We Listened 8. Belated Witnessing and Preemptive Positioning 9. Between Highlights and Shadows: Tadjo's Entries 10. Writing as Haunting Pollination: Lamko's Butterfly 11. Polyvocal Dismembering: Diop's Remembering of Murambi PART THREE: Screening Memory and (Un)Framing Forgetting: Filming Genocide and its Aftermath in Rwanda 12. No Neutral Shooting 13. Close-up on some Recurrent Facts and Figures 14. A Pedagogy Against Forgetting that Sometimes Forgets Itself 15. Historical and Contextual Trompe-l'/il 16. Ob-Scene Off-Screened: A Genocide Off-Camera 17. The Heir or the Return of the Off-Screened EPILOGUE: On Turning the Page 18. Testimony, Memory, and Reconciliation in the Era of Gacaca
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