Sights, Sounds, and Sensibilities of Atrocity Prosecutions

Mark A. Drumbl (J.S.D., 2002, Columbia University), is the Class of 1975 Alumni Professor of Law and Director of the Transnational Law Institute at Washington and Lee University. Caroline Fournet, (Ph.D., 2003, Faculty of Law, University of Leicester) is Professor of Law at the University of Exeter, UK.

Acknowledgements


List of Figures


Notes on Contributors


Introduction

Mark A. Drumbl and Caroline Fournet



Part 1

Shows and Cases: Showcasing(s) in the Courtroom

1 Optical Allusions, Indecency, and Injustice in the Trial of Japanese War Criminals

  James Burnham Sedgwick



2 ‘The Show Must Go On’: The Trials and Tribulations of Ludmila Brožová-Polednová

  Barbora Holá



3 Atrocity Then, Trial Now: The Aesthetics, Acoustics, and Visualities of Prosecuting Oskar Gröning

  Caroline Fournet and Mark A. Drumbl



4 Performing Justice: The Trial of Bruno Dey and Its Protagonists

  Moritz Vormbaum and Jara Streuer



Part 2

Translating the Senses into Law and Judgment

5 Does Music Create Killers?: The Role of Music in the Commission of Violent Crimes

  Agnieszka Jachec-Neale



6 The Stench of Death: The Olfactory of Genocide in International Criminal Trials

  Carola Lingaas



7 The Sound and Taste of Atrocities: From Cambodia in the 1970s to Bosnia and Herzegovina in the 1990s

  Audrey Fino



8 The Age-Impunity Rhetoric in Trials for Crimes Committed during the Argentine Genocide (1975–1983)

  Adriana Taboada and Lior Zylberman



Part 3

Filtering the Sensory: Language, Evidence, Culture, and Procedure

9 Sounds of Atrocity Prosecutions: Intersubjective Interpreting as a Key Ingredient for Effective and Fair Trials in Multilingual and Multicultural War Crimes Courtrooms

  Dragana Spencer



10 The Mind’s Eye: The Invisibility of Culture in Individual Criminal Responsibility

  Vera Piovesan



11 Versions of the Truth: Disinformation and Prosecuting Atrocities

  Emma J. Breeze



12 Putting Things in Play: The Spectacle of Criminal Justice

  Sebastián Machado



Part 4

Staging, Re-enactment, Film

13 A Trial without a Defendant: The Mock Trial of Dr. Josef Mengele in Jerusalem

  Yehudit Dori-Deston



14 Reconstructing the Crime: Memory, Re-enactments, and Space in Atrocity Investigations

  Maria Elander



15 Staging Atrocity Prosecutions: Re-enactments and Pre-enactments of Atrocity Trials in Theatre

  Hanna Luise Kroll and Kerstin Wilhelms



16 Entertaining Selectivity: ‘Narcos’, Netflix, and International Crimes

  Javier S. Eskauriatza



Part 5

Sensibility Divides: North–South, Imperial–Colonized, State–Society

17 Hearing Voices: Victim and Witness Demographics at the International Criminal Court

  Annika Jones



18 Ugly Atrocities, Cathartic Prosecutions: International Criminal Law as Emotional Salve

  Randle C. DeFalco



19 Appropriating Sovereignty through Trials: British Imperial Expansion and Staging of Oppression through Law

  Aman Kumar



20 ‘Protecting the Environment Is Not Illegal’: Ecological Activism, the Visualities of Law and Justice, and the Land Concession Crisis in Cambodia

  Stéphanie Benzaquen-Gautier



Part 6

Reflections on Aesthetics and Methods

21 Veteran Mobilisation, Prosecutions, and the Contested Legacy of the Past in Northern Ireland: Deconstructing the ‘Witch-Hunt’ Narrative

  Kevin Hearty and Kieran McEvoy



22 Negative Aesthetic Experiences of Prosecuting the Barely Alive

  Shannon Fyfe



23 Elaborating on the ‘Asymmetry’ of Prosecuting Aged Defendants for Atrocities: A ‘Multimodal-Visual Argumentation’ Perspective

  Konstantinos P. Tsinas



24 Atrocity Prosecutions, Cultural Representation, and the Invisible Older Individual

  Kirsten J. Fisher



25 The Sights, Sounds, and Silences of International Law During the Cold War

  Mark A. Drumbl



Index