Filmmaker McLaughlin addresses the need to create platforms for survivors of political violence to tell their stories in order to challenge marginalising narratives and as a form of public and personal healing.This book is a result of a ten-year follow-up to Telling Stories from Political Violence: A Filmmaker’s Journey (2012). It Stays with You: Use of Force by UN Peacekeepers in Haiti (2018) addresses the impact of the use of lethal force in raids by the UN peacekeeping mission (MINUSTAH) on the marginalised neighbourhood of Bois Neuf, in Port-au-Prince, that left scores of civilians dead, many more injured, and domestic properties destroyed. The Port-au-Prince-Rio Connection (2019) continues the issue of the use of lethal force in the increasing militarisation of security operations by authorities on civilians. In 2019, the final film in the trilogy We Never Give Up was produced on living with the legacy of apartheid violence in South Africa. Produced by the Human Rights Media Centre in Cape Town, the trilogy tells the stories of those from a variety of backgrounds — torture victims, displacement, assassination attempts — over a period of 20 years. Finally, the Prisons Memory Archive is a collection of memories from the prisons during the political conflict known as the Troubles in the north of Ireland. In societies emerging out of, or still addressing political violence, the need to create platforms for survivors to tell their stories as a form of public and personal healing is well documented. Some societies have created official forms, e.g. the Truth and Reconciliation Commission in South Africa, while others rely on community, or bottom-up, initiatives, e.g. Accounts of the Conflict in Ireland. Each society, each community, and each project is contingent on the nature of the violence and the needs of the communities who have suffered. The use of documentary film, or audiovisual recording, is one such method of creating a platform for such purposes. The role of participatory practices is an important element in how such filmmaking might address issues of trauma, memory, and injustice.Drawing on his experiences directing films in Ireland, Haiti, Brazil and South Africa, McLaughlin reflects on the potential of documentary film to provide a platform for those who have experienced political violence to challenge dominant narratives that marginalises them, and that offers potential for personal and public healing. Using participatory methodologies, each case study analyses conditions of production, political context, participatory potential, and impact of the films on both survivors and the general public. Challenges will be addressed and lessons suggested for similar projects in the areas of documentary film, transitional justice, participatory ethnography and political activism.
