Abstract

502 BOOK REVIEWS disappearances before a willing but sometimes confounded and complicit audience. Willis follows this with a differentiation of the archive (ordering and dwelled in) and the repertoire (embodied memory) illustrated through a visit to Cambodia. There, the Tuol Sleng museum to the Khmer Rouge era also elicits affective responses from visitors with its ban on smiling and the display of artistic photographs of the ‘mugshots’ of victims, calling into question the ethics of the tourist viewer who is typically forced to adopt the perspective of perpetrator in their visits. The photographs are unspeaking. Their subjects are not living. Their re-phrasing implicates the viewer in a different relationship, possibly one less violent. Face: the fear of saving face, and de-facing the subject to de-humanise and objectify, are centre stage in the repugnant process of victimisation that we must all face-up to. Chapter five in the book assesses Maori re-enactment spectacles in New Zealand and attempts to create ethical listening spaces for the lost in battle. This symbolic witnessing to colonial violence takes place in the theatre of tourism, a re-colonising through cultural tourism heritage displays such as Lost In Our Own Land in Christchurch, or Ponifiasio’sre- working of