Media Ruins: Cambodian Postwar Media Reconstruction and the Geopolitics of Technology by Margaret Jack

In the heart of Southeast Asia, Cambodia’s history is stained by the tragic era of the Khmer Rouge regime, which from 1975 to 1979 inflicted unparalleled suffering upon its population. The systematic destruction of culture, the execution of intellectuals, and the eradication of artistic expressions left indelible scars on the nation’s collective memory. Amid this backdrop of loss and devastation, Media Ruins: Cambodian Postwar Media Reconstruction and the Geopolitics of Technology by Margaret Jack emerges as a beacon of resilience and hope. This pivotal work delves into the remarkable journey of a generation of tech-savvy Cambodians who have embarked on a mission to restore their country’s historical media artifacts, offering a profound narrative on the power of technology in healing and remembrance.

The book is divided into two halves, intricately weaving the historical tapestry of Cambodia’s media landscape with contemporary efforts in media reconstruction and commemoration. It consists of six chapters, each offering a unique lens through which to view the complex interplay between media, politics, and technology in Cambodia’s journey from a postconflict society to a nation grappling with its digital future.

In the first half of the book, Jack lays the historical groundwork, charting the evolution of Cambodia’s film and radio cultures from 1955 through the 1990s. This section underscores the intrinsic link between media and politics, detailing how the media sector was constructed and then reconstructed following the Khmer Rouge’s devastating impact. The narrative begins by exploring the pre–Khmer Rouge era, highlighting the cultural flourishing under Norodom Sihanouk’s rule and the subsequent bolstering of national media infrastructures with the help of the United States Information Service (USIS). This period, marked by deep inequalities, sets the stage for understanding the dual role of media as both a tool for authoritarian control and a space for artistic expression. As the book transitions into the People’s Republic of Kampuchea (PRK) period (1979–91) post–Khmer Rouge, Jack presents an empirical introduction to infrastructural restitution (chapter 2). Through stories of state workers in Phnom Penh and Battambang, the reader gains insight into the challenges and political intricacies of rebuilding media infrastructure amid poverty and violence. This chapter not only highlights the political dimensions of media work during this time but also emphasizes the emotional labor of workers healing from trauma while reconstructing the nation’s media landscape. The discussion then shifts to the 1990s, a decade marked by the United Nations Transitional Authority in Cambodia (UNTAC) and the opening of Cambodian borders to Western trade (chapter 3). Jack critiques UNTAC’s naive involvement in the media sector and contrasts it with local efforts of infrastructural restitution, shedding light on the dangers of ahistorical interventions and the conservative elements of rebuilding efforts. This chapter vividly depicts the cultural and social frictions arising from the clash between international aid efforts and the deep-rooted historical connections between media and political power in Cambodia.

The second half of the book moves into a discussion of contemporary media commemoration projects, based on Jack’s ethnographic work in Phnom Penh (chapters 4–6). Here, the focus shifts to how modern Cambodian media creators engage in infrastructural restitution as a form of political action and healing. Chapter 4 delves into the work of Roung Kon, a group of architects dedicated to preserving the heritage cinemas of Cambodia. Their efforts are portrayed as a subtle political act against an authoritarian backdrop, using media ruins to evoke public support for the arts and sustainable urban development. In a poignant exploration of healing and memory (chapter 5), Jack introduces Preah Sorya, a youth group that recovers, distributes, and screens films from before the Khmer Rouge era. This chapter reflects on the therapeutic potential of infrastructural restitution, where the act of commemorating the lost and engaging with media materiality fosters collective healing and dreams of a brighter future. Finally, Jack examines the transnational tensions inherent in infrastructural restitution through the lens of digital platforms (chapter 6). Analyzing projects like Amazing Cambodia and the Bophana Center’s app, the narrative navigates the complexities of rural-urban mobility, foreign influence, and local grassroots practices. This chapter underscores the global-local dynamics at play in preserving Cambodia’s historical media artifacts, highlighting the role of technology in shaping the nation’s memory and identity.

Margaret Jack’s Media Ruins presents an insightful exploration into the resilience of Cambodia through the lens of media restoration, following the devastation wreaked by the Khmer Rouge regime. This work stands out not only for its comprehensive historical analysis but also for its profound engagement with the contemporary digital reconstruction of Cambodia’s cultural heritage. By weaving together the threads of history, technology, and memory, Jack has crafted a narrative that is both deeply informative and emotionally resonant, marking a significant contribution to the fields of media and technology studies, as well as trauma and memory studies.

Jack’s book also offers a detailed examination of Cambodia’s media evolution, highlighting its significant impact from the mid-twentieth century to the 1990s, especially during the Khmer Rouge regime. This historical context emphasizes the substantial cultural loss and the subsequent challenges in media reconstruction. Jack’s narrative connects media developments with political dynamics, illustrating their role in both supporting authoritarian regimes and nurturing cultural growth. The book also delves into the contemporary efforts of Cambodian tech enthusiasts in reviving lost media artifacts using digital means to both remember and heal. Through engaging stories from groups like Roung Kon and Preah Sorya, Jack explores the emotional and political facets of media restoration, showing how digital tools aid not only in recapturing history but also in fostering resilience and envisioning new futures.

Furthermore, the book critically assesses the geopolitics surrounding technology in Cambodia, exploring the balance between local initiatives and global influences in media restoration. Jack’s analysis of digital platforms’ role in circulating historical narratives reveals the dual challenges and prospects that the digital era presents, particularly in democratizing access to history. This multifaceted investigation into media’s role in national healing underscores the book’s central theme: the redemptive and renewing power of media in postconflict settings. Jack’s comprehensive research and engaging storytelling provide deep insights into the interplay between technology, history, and human tenacity, positioning the work as a crucial reference for those exploring the intersections of technology, history, and recovery in postconflict societies.