Rithy Panh Quotes

The spectacle is not a collection of images, but a social relation among people, mediated by images.

Television and film are our libraries now. Our history books.

We live in a visual world now.

Creating a representation of yourself for the Internet stopped making sense when we were all on phones and connected everywhere.

We live in an image society. Speeches are not what anybody cares about; what they care about is the picture.

In all my shows, I'm not interested in the iconic shots of the Capitol and the Washington Monument and the Lincoln Memorial. I'm always interested in trying to get the culture of the place - trying to get it right.

Quitting Facebook would be like partially erasing myself. Quitting Twitter would constitute further erasure. Pretty soon, I'd be invisible. I was never on Instagram or Tumblr, which I guess means I never completely existed in the first place.

The coming of age of Canadian culture may not depend on our ability to protect it at home, but to project it on the world’s stage.

The thing that is being lost is heritage. In Africa, religion and advertisement and television and media hype have gotten Africans to where they are convinced psychologically that their own heritage is heathen, pagan, barbaric, savage, primitive.

I think that our civilisation is very much a visual civilisation - television and videos and all this.

In the media, I do not feel recognised, but that's because I don't put myself in the media. I'm not a player who is always on Twitter or Facebook.

The selfie is a powerful tool, but it can also be dangerous, and I am fascinated with the process of it because there is a level of self-monitoring.

Social media provides a constant platform on which to feature what we deem beautiful, meaningful, and worthy.

I'm a visual learner, so film is a huge inspiration to me.

Aboriginal people have much to celebrate in this country's British heritage

Culture isn't all just about what can be tweaked and twitched in the simplest possible way. As people move around, they literally don't see what's around them, because they're wedded to earworms that are burrowing into their heads endlessly in a kind of negotiation with these tiny screens.

You see a picture and you understand perfectly, immediately, the basic thing that's happening. It's probably more accessible because we are in a culture of images. People are used to seeing stories that way. They understand looking at pictures.

My paintings at their best take that vocabulary and attempt to transpose that into a form that gives respect not only to the history of painting but also to those people who look and sound like me.

We know that photographs inform people. We also know that photographs move people. The photograph that does both is the one we want to see and make.

What a country chooses to save is what a country chooses to say about itself.

Most human behavior is controlled by images. Image is a factor in how people look at themselves and what they use to reflect themselves. The control of images is a major factor in world power.

When Cartier-Bresson goes to China, he shows that there are people in China, and that they are Chinese.

Go back home where you came from. This country is mine, and I intend to stay here and to raise this country full of grown people.

The future is unwritten. Cyberspace is the funhouse mirror of our own society, reflects our values and our faults, sometimes in terrifying exaggerations. It doesn't matter who you are today, if you don't show up in that mirror you are just not going to matter very much. Our kids have to show up in the mirror.

You cannot build a cultural identity without the images and sounds of your culture. Most countries in the third world - poor countries - they've lost their memories. Because everyday, films and cultural artifacts disappear. Film is also a memory - of the character and imagination of a culture.