subject:(Trauma Cinema)

University College Cork

1. Clancy, Fiona. No place like home: trauma and the moral subject in contemporary Argentine cinema.

Degree: 2018, University College Cork

► Over the past two decades, cinematic production from Argentina has been enjoying increased commercial success and critical acclaim on both the national and international film… (more)

▼ Over the past two decades, cinematic production from Argentina has been enjoying increased commercial success and critical acclaim on both the national and international film scenes. This thesis investigates the representation of trauma in six films produced during this new wave of Argentine cinema by three Argentine directors – Albertina Carri, Lucrecia Martel and Pablo Trapero – who are among the most iconic filmmakers to be associated with the so-called New Argentine Cinema. This thesis contends that it is both timely and appropriate to examine these films beyond the temporal and thematic confines of the critical category of ‘New Argentine Cinema’, thus opening up the work of these directors to a wider field of analysis. I argue that Argentina’s filmic representations of trauma go beyond the political to the very heart of the human condition, occupying the opaque, ambiguous spaces between the private and political, the individual and collective, and the national and global. Placing six films in comparative perspective, the thesis establishes an original framework for exploring trauma, offering a nuanced approach to the myriad ways in which it is presented in cinematic production. Each of these films powerfully captures, in different ways, the complex dynamics of physical and psychological trauma, and demonstrates that trauma is more than a psychic phenomenon or a physical wound – it is also a social construct. The thesis considers three key facets of trauma: the bodily, the psychological and the social. The former addresses the cinematic representation of bodies, and the way in which trauma is transmitted in and by the body, in order to scrutinize the link between trauma and corporality. The latter two examine the psychological dimensions of trauma, and explore how the aftermath and ongoing fallout of traumatic experiences are represented in films by engaging with a structural theory of trauma and a phenomenological approach to the human person. Drawing on the Edith Stein’s underexplored phenomenology (1989, 2000) as a means of negotiating the physical, psychological and social spheres, I assert that the way in which these three dimensions of trauma are interconnected elucidates the variety of ways in which violence remains present in society and continues to proliferate in subtle forms. By interrogating the ambiguous spaces between the physical and psychological, the individual and collective, and the private and political, I argue that these films offer original insights into the relationship between physical and psychological trauma and thus elucidate the subtle ways in which violence permeates the globalized world. In so doing, the thesis highlights Argentina’s exceptional contribution to contemporary cinema as a creative didactic force within a precarious national and global culture. Advisors/Committee Members: Levey, Cara.

Subjects/Keywords: Argentine cinema; Argentina; World cinema; Trauma; Morality

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APA (6^th Edition):

Clancy, F. (2018). No place like home: trauma and the moral subject in contemporary Argentine cinema. (Thesis). University College Cork. Retrieved from http://hdl.handle.net/10468/6820

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Clancy, Fiona. “No place like home: trauma and the moral subject in contemporary Argentine cinema.” 2018. Thesis, University College Cork. Accessed March 07, 2021. http://hdl.handle.net/10468/6820.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Clancy, Fiona. “No place like home: trauma and the moral subject in contemporary Argentine cinema.” 2018. Web. 07 Mar 2021.

Vancouver:

Clancy F. No place like home: trauma and the moral subject in contemporary Argentine cinema. [Internet] [Thesis]. University College Cork; 2018. [cited 2021 Mar 07]. Available from: http://hdl.handle.net/10468/6820.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Clancy F. No place like home: trauma and the moral subject in contemporary Argentine cinema. [Thesis]. University College Cork; 2018. Available from: http://hdl.handle.net/10468/6820

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Royal Holloway, University of London

2. Nasu, Madori. Contesting visions : memory and cultural trauma in early post-Civil War Spanish cinema, 1939-1950.

Degree: PhD, 2014, Royal Holloway, University of London

URL: https://pure.royalholloway.ac.uk/portal/en/publications/contesting-visions-memory-and-cultural-trauma-in-early-postcivil-war-spanish-cinema-19391950(892cb2bf-4d08-4793-bd1d-0d20215f79b7).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.792186

► This thesis is a critical study of Spanish cinema of the 1940s and its relation to the memory politics in early post-Civil War Spain. Despite… (more)

Subjects/Keywords: Spanish Cinema; memory; trauma; franquismo

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APA (6^th Edition):

Nasu, M. (2014). Contesting visions : memory and cultural trauma in early post-Civil War Spanish cinema, 1939-1950. (Doctoral Dissertation). Royal Holloway, University of London. Retrieved from https://pure.royalholloway.ac.uk/portal/en/publications/contesting-visions-memory-and-cultural-trauma-in-early-postcivil-war-spanish-cinema-19391950(892cb2bf-4d08-4793-bd1d-0d20215f79b7).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.792186

Chicago Manual of Style (16^th Edition):

Nasu, Madori. “Contesting visions : memory and cultural trauma in early post-Civil War Spanish cinema, 1939-1950.” 2014. Doctoral Dissertation, Royal Holloway, University of London. Accessed March 07, 2021. https://pure.royalholloway.ac.uk/portal/en/publications/contesting-visions-memory-and-cultural-trauma-in-early-postcivil-war-spanish-cinema-19391950(892cb2bf-4d08-4793-bd1d-0d20215f79b7).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.792186.

MLA Handbook (7^th Edition):

Nasu, Madori. “Contesting visions : memory and cultural trauma in early post-Civil War Spanish cinema, 1939-1950.” 2014. Web. 07 Mar 2021.

Vancouver:

Nasu M. Contesting visions : memory and cultural trauma in early post-Civil War Spanish cinema, 1939-1950. [Internet] [Doctoral dissertation]. Royal Holloway, University of London; 2014. [cited 2021 Mar 07]. Available from: https://pure.royalholloway.ac.uk/portal/en/publications/contesting-visions-memory-and-cultural-trauma-in-early-postcivil-war-spanish-cinema-19391950(892cb2bf-4d08-4793-bd1d-0d20215f79b7).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.792186.

Council of Science Editors:

Nasu M. Contesting visions : memory and cultural trauma in early post-Civil War Spanish cinema, 1939-1950. [Doctoral Dissertation]. Royal Holloway, University of London; 2014. Available from: https://pure.royalholloway.ac.uk/portal/en/publications/contesting-visions-memory-and-cultural-trauma-in-early-postcivil-war-spanish-cinema-19391950(892cb2bf-4d08-4793-bd1d-0d20215f79b7).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.792186

University of Manchester

3. Ahmed, Omar. In the wake of Rupture: Iconoclasm, Film Aesthetics and the Wound in the foundational years of Indian Parallel Cinema (1968 - 1975).

Degree: 2019, University of Manchester

URL: http://www.manchester.ac.uk/escholar/uk-ac-man-scw:320175

► Rupture is a relatively undetermined scholarly field often associated with political philosophy. While there have been many ruptures in the history of film, South Asian… (more)

Subjects/Keywords: Rupture; Indian Cinema; Parallel Cinema; Trauma; Iconoclasm; Film Aesthetics

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APA (6^th Edition):

Ahmed, O. (2019). In the wake of Rupture: Iconoclasm, Film Aesthetics and the Wound in the foundational years of Indian Parallel Cinema (1968 - 1975). (Doctoral Dissertation). University of Manchester. Retrieved from http://www.manchester.ac.uk/escholar/uk-ac-man-scw:320175

Chicago Manual of Style (16^th Edition):

Ahmed, Omar. “In the wake of Rupture: Iconoclasm, Film Aesthetics and the Wound in the foundational years of Indian Parallel Cinema (1968 - 1975).” 2019. Doctoral Dissertation, University of Manchester. Accessed March 07, 2021. http://www.manchester.ac.uk/escholar/uk-ac-man-scw:320175.

MLA Handbook (7^th Edition):

Ahmed, Omar. “In the wake of Rupture: Iconoclasm, Film Aesthetics and the Wound in the foundational years of Indian Parallel Cinema (1968 - 1975).” 2019. Web. 07 Mar 2021.

Vancouver:

Ahmed O. In the wake of Rupture: Iconoclasm, Film Aesthetics and the Wound in the foundational years of Indian Parallel Cinema (1968 - 1975). [Internet] [Doctoral dissertation]. University of Manchester; 2019. [cited 2021 Mar 07]. Available from: http://www.manchester.ac.uk/escholar/uk-ac-man-scw:320175.

Council of Science Editors:

Ahmed O. In the wake of Rupture: Iconoclasm, Film Aesthetics and the Wound in the foundational years of Indian Parallel Cinema (1968 - 1975). [Doctoral Dissertation]. University of Manchester; 2019. Available from: http://www.manchester.ac.uk/escholar/uk-ac-man-scw:320175

University of Manchester

4. Ahmed, Omar. In the wake of rupture : iconoclasm, film aesthetics and the wound in the foundational years of Indian Parallel Cinema (1968-1975).

Degree: PhD, 2019, University of Manchester

URL: https://www.research.manchester.ac.uk/portal/en/theses/in-the-wake-of-rupture-iconoclasm-film-aesthetics-and-the-wound-in-the-foundational-years-of-indian-parallel-cinema-1968 – 1975(15b26cb5-caea-4ee6-a1af-b10c79afcbf6).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.816287

► Rupture is a relatively undetermined scholarly field often associated with political philosophy. While there have been many ruptures in the history of film, South Asian… (more)

Subjects/Keywords: Film Aesthetics; Iconoclasm; Trauma; Parallel Cinema; Indian Cinema; Rupture

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APA (6^th Edition):

Ahmed, O. (2019). In the wake of rupture : iconoclasm, film aesthetics and the wound in the foundational years of Indian Parallel Cinema (1968-1975). (Doctoral Dissertation). University of Manchester. Retrieved from https://www.research.manchester.ac.uk/portal/en/theses/in-the-wake-of-rupture-iconoclasm-film-aesthetics-and-the-wound-in-the-foundational-years-of-indian-parallel-cinema-1968 – 1975(15b26cb5-caea-4ee6-a1af-b10c79afcbf6).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.816287

Chicago Manual of Style (16^th Edition):

Ahmed, Omar. “In the wake of rupture : iconoclasm, film aesthetics and the wound in the foundational years of Indian Parallel Cinema (1968-1975).” 2019. Doctoral Dissertation, University of Manchester. Accessed March 07, 2021. https://www.research.manchester.ac.uk/portal/en/theses/in-the-wake-of-rupture-iconoclasm-film-aesthetics-and-the-wound-in-the-foundational-years-of-indian-parallel-cinema-1968 – 1975(15b26cb5-caea-4ee6-a1af-b10c79afcbf6).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.816287.

MLA Handbook (7^th Edition):

Ahmed, Omar. “In the wake of rupture : iconoclasm, film aesthetics and the wound in the foundational years of Indian Parallel Cinema (1968-1975).” 2019. Web. 07 Mar 2021.

Vancouver:

Ahmed O. In the wake of rupture : iconoclasm, film aesthetics and the wound in the foundational years of Indian Parallel Cinema (1968-1975). [Internet] [Doctoral dissertation]. University of Manchester; 2019. [cited 2021 Mar 07]. Available from: https://www.research.manchester.ac.uk/portal/en/theses/in-the-wake-of-rupture-iconoclasm-film-aesthetics-and-the-wound-in-the-foundational-years-of-indian-parallel-cinema-1968 – 1975(15b26cb5-caea-4ee6-a1af-b10c79afcbf6).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.816287.

Council of Science Editors:

Ahmed O. In the wake of rupture : iconoclasm, film aesthetics and the wound in the foundational years of Indian Parallel Cinema (1968-1975). [Doctoral Dissertation]. University of Manchester; 2019. Available from: https://www.research.manchester.ac.uk/portal/en/theses/in-the-wake-of-rupture-iconoclasm-film-aesthetics-and-the-wound-in-the-foundational-years-of-indian-parallel-cinema-1968 – 1975(15b26cb5-caea-4ee6-a1af-b10c79afcbf6).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.816287

University of Melbourne

5. Lovejoy, Cassandra J. Becoming worthy of the event: Left Bank trauma cinema, 1945-1962.

Degree: 2012, University of Melbourne

URL: http://hdl.handle.net/11343/37963

► Asking the question, ‘How can we articulate the conditions that make possible the catastrophic event without referring to any form of identity?’ this thesis considers… (more)

▼ Asking the question, ‘How can we articulate the conditions that make possible the catastrophic event without referring to any form of identity?’ this thesis considers the trauma cinema of three Rive Gauche filmmakers: Georges Franju, Chris Marker and Alain Resnais. The argument of the thesis is predicated on taking up and insisting upon the explosive and disorganising power of the traumatic event, made manifest in Le Sang des bêtes (Franju, 1949), Les Yeux sans visage (Franju, 1959), Les Statues meurent aussi (Marker and Resnais, 1953) and Muriel, ou le temps d’un retour (Resnais, 1963). The Lazarean characters that haunt these films bear witness to a radical temporal and ontological ‘ungrounding’; an ‘ungrounding’ that shatters identity and characterises catastrophe. This thesis argues that it is only in commencing with the difference that announces itself in the dissolution of identity and permanence that we can hope to create an adequate theorisation of the traumatic event. The transcendental empiricism of Gilles Deleuze provides the kernel for an in-depth analysis of catastrophe that presents an alternative to ‘deconstructive trauma studies,’ the dominant trauma paradigm within the humanities. The thesis returns to the epoch in which this methodology has its roots, the period between the end of the Second World War and the end of the Algerian War of Independence (1945-1962). It takes leave, however, from deconstructive trauma studies’ attempts to tether the traumatic event to systems of identity. Working within a Deleuzian paradigm, the thesis examines transcendental structure alongside empirical manifestation: virtual ‘becomings’ alongside actual history. Deleuze’s concepts of ‘difference-in-itself,’ ‘repetition-for-itself’ and ‘the event’ are drawn upon and extended into the field of trauma studies. The conditions of true genesis for the actual traumatic event, it is argued, are to be discovered not in identity, but in the incorporeal events and self-differentiating differences that emerge from the transcendental field of the virtual. During the event of catastrophe, these imperceptible forces inscribe themselves - via intensity or pure difference - in the flesh. The traumatic event illuminates in calamity the eruption of Deleuze’s ultimate form of repetition, which repeats only a force of pure difference. Through an intersection of Rive Gauche trauma cinema and Deleuzian philosophy, this thesis seeks to consider the differential changes that ground catastrophe, thus deepening our comprehension of the traumatic event and ethical responses to such occurrences.

Subjects/Keywords: Gilles Deleuze; trauma; trauma cinema; Left Bank group; Alain Resnais; continental philosophy

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APA (6^th Edition):

Lovejoy, C. J. (2012). Becoming worthy of the event: Left Bank trauma cinema, 1945-1962. (Masters Thesis). University of Melbourne. Retrieved from http://hdl.handle.net/11343/37963

Chicago Manual of Style (16^th Edition):

Lovejoy, Cassandra J. “Becoming worthy of the event: Left Bank trauma cinema, 1945-1962.” 2012. Masters Thesis, University of Melbourne. Accessed March 07, 2021. http://hdl.handle.net/11343/37963.

MLA Handbook (7^th Edition):

Lovejoy, Cassandra J. “Becoming worthy of the event: Left Bank trauma cinema, 1945-1962.” 2012. Web. 07 Mar 2021.

Vancouver:

Lovejoy CJ. Becoming worthy of the event: Left Bank trauma cinema, 1945-1962. [Internet] [Masters thesis]. University of Melbourne; 2012. [cited 2021 Mar 07]. Available from: http://hdl.handle.net/11343/37963.

Council of Science Editors:

Lovejoy CJ. Becoming worthy of the event: Left Bank trauma cinema, 1945-1962. [Masters Thesis]. University of Melbourne; 2012. Available from: http://hdl.handle.net/11343/37963

Victoria University of Wellington

6. Fadlon, Dor Thor. Incredible but Very Real: 3D Cinema and Trauma in the Wake of WWII and 9/11.

Degree: 2020, Victoria University of Wellington

URL: http://hdl.handle.net/10063/8864

► This thesis investigates Hollywood and global Hollywood 3D cinema at the height of its box office success, the early fifties, and from 2009-2014. Discourse surrounding… (more)

Subjects/Keywords: 3D Cinema; Trauma; Phenomenology; Deleuze; WWII; September 11

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APA (6^th Edition):

Fadlon, D. T. (2020). Incredible but Very Real: 3D Cinema and Trauma in the Wake of WWII and 9/11. (Doctoral Dissertation). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/8864

Chicago Manual of Style (16^th Edition):

Fadlon, Dor Thor. “Incredible but Very Real: 3D Cinema and Trauma in the Wake of WWII and 9/11.” 2020. Doctoral Dissertation, Victoria University of Wellington. Accessed March 07, 2021. http://hdl.handle.net/10063/8864.

MLA Handbook (7^th Edition):

Fadlon, Dor Thor. “Incredible but Very Real: 3D Cinema and Trauma in the Wake of WWII and 9/11.” 2020. Web. 07 Mar 2021.

Vancouver:

Fadlon DT. Incredible but Very Real: 3D Cinema and Trauma in the Wake of WWII and 9/11. [Internet] [Doctoral dissertation]. Victoria University of Wellington; 2020. [cited 2021 Mar 07]. Available from: http://hdl.handle.net/10063/8864.

Council of Science Editors:

Fadlon DT. Incredible but Very Real: 3D Cinema and Trauma in the Wake of WWII and 9/11. [Doctoral Dissertation]. Victoria University of Wellington; 2020. Available from: http://hdl.handle.net/10063/8864

University of Sydney

7. Devonish, Emme. Screen Violence and Complex Storytelling: Trauma, Marginalization, and Stereotypes .

Degree: 2015, University of Sydney

URL: http://hdl.handle.net/2123/16948

► Since the mid-1990s, complex storytelling ignited a trend in the film industry towards more nontraditional narrative structures. Most film theorists agree that the popularity of… (more)

Subjects/Keywords: Screen violence; Complex storytelling; Stereotypes; Narrative cinema; Trauma; Marginalization

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APA (6^th Edition):

Devonish, E. (2015). Screen Violence and Complex Storytelling: Trauma, Marginalization, and Stereotypes . (Thesis). University of Sydney. Retrieved from http://hdl.handle.net/2123/16948

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Devonish, Emme. “Screen Violence and Complex Storytelling: Trauma, Marginalization, and Stereotypes .” 2015. Thesis, University of Sydney. Accessed March 07, 2021. http://hdl.handle.net/2123/16948.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Devonish, Emme. “Screen Violence and Complex Storytelling: Trauma, Marginalization, and Stereotypes .” 2015. Web. 07 Mar 2021.

Vancouver:

Devonish E. Screen Violence and Complex Storytelling: Trauma, Marginalization, and Stereotypes . [Internet] [Thesis]. University of Sydney; 2015. [cited 2021 Mar 07]. Available from: http://hdl.handle.net/2123/16948.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Devonish E. Screen Violence and Complex Storytelling: Trauma, Marginalization, and Stereotypes . [Thesis]. University of Sydney; 2015. Available from: http://hdl.handle.net/2123/16948

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

York University

8. Romvari, Sophy. Still Processing.

Degree: MFA - Master of Fine Arts, Film And Video, 2020, York University

URL: https://yorkspace.library.yorku.ca/xmlui/handle/10315/37492

► A box of stunning family photos unearthed from storage and unseen for decades awakens lost memories as they are viewed for the first time on… (more)

Subjects/Keywords: Fine arts; Film; Photography; Autobiography; Ethnography; Trauma; Process Cinema; Psychology

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APA (6^th Edition):

Romvari, S. (2020). Still Processing. (Masters Thesis). York University. Retrieved from https://yorkspace.library.yorku.ca/xmlui/handle/10315/37492

Chicago Manual of Style (16^th Edition):

Romvari, Sophy. “Still Processing.” 2020. Masters Thesis, York University. Accessed March 07, 2021. https://yorkspace.library.yorku.ca/xmlui/handle/10315/37492.

MLA Handbook (7^th Edition):

Romvari, Sophy. “Still Processing.” 2020. Web. 07 Mar 2021.

Vancouver:

Romvari S. Still Processing. [Internet] [Masters thesis]. York University; 2020. [cited 2021 Mar 07]. Available from: https://yorkspace.library.yorku.ca/xmlui/handle/10315/37492.

Council of Science Editors:

Romvari S. Still Processing. [Masters Thesis]. York University; 2020. Available from: https://yorkspace.library.yorku.ca/xmlui/handle/10315/37492

Universidade Nova

9. Barata, António Maria Alves Leite do Amaral. Não Esqueçerás.

Degree: 2017, Universidade Nova

URL: http://www.rcaap.pt/detail.jsp?id=oai:run.unl.pt:10362/22293

►

Este relatório de estágio analisa as temáticas e o trabalho desenvolvido durante o estágio no decorrer da realização e montagem do filme “Não Esquecerás”, realizado… (more)

Subjects/Keywords: Comunicação; Cinema; Memória; Trauma; Entre-os-Rios; Monumento; Comunication; Memory; Trauma; Monument; Domínio/Área Científica::Ciências Sociais::Ciências da Comunicação

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APA (6^th Edition):

Barata, A. M. A. L. d. A. (2017). Não Esqueçerás. (Thesis). Universidade Nova. Retrieved from http://www.rcaap.pt/detail.jsp?id=oai:run.unl.pt:10362/22293

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Barata, António Maria Alves Leite do Amaral. “Não Esqueçerás.” 2017. Thesis, Universidade Nova. Accessed March 07, 2021. http://www.rcaap.pt/detail.jsp?id=oai:run.unl.pt:10362/22293.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Barata, António Maria Alves Leite do Amaral. “Não Esqueçerás.” 2017. Web. 07 Mar 2021.

Vancouver:

Barata AMALdA. Não Esqueçerás. [Internet] [Thesis]. Universidade Nova; 2017. [cited 2021 Mar 07]. Available from: http://www.rcaap.pt/detail.jsp?id=oai:run.unl.pt:10362/22293.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Barata AMALdA. Não Esqueçerás. [Thesis]. Universidade Nova; 2017. Available from: http://www.rcaap.pt/detail.jsp?id=oai:run.unl.pt:10362/22293

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

10. Adriana Rodrigues Novais. Cinema e memória da ditadura civil-militar no Brasil: Uma análise dos filmes Pra frente Brasil (1982) e Ação entre amigos (1998).

Degree: 2013, Universidade Federal de São Carlos

URL: http://www.bdtd.ufscar.br/htdocs/tedeSimplificado//tde_busca/arquivo.php?codArquivo=6848

►

A presente pesquisa procurou lançar luzes sobre a questão da memória e da representação da ditadura civil-militar (1964-1985) no Brasil através da análise dos filmes… (more)

▼

A presente pesquisa procurou lançar luzes sobre a questão da memória e da representação da ditadura civil-militar (1964-1985) no Brasil através da análise dos filmes Pra Frente Brasil (1982) e Ação Entre Amigos (1998), que abordam esse período da história nacional. Nosso objetivo foi entender os limites e avanços das obras fílmicas enquanto portadoras de memória da ditadura civil-militar. Assim, examinamos como a ditadura civil-militar vem à cena nos filmes em questão, relacionando-os com o contexto de sua produção. Tomamos como base o pressuposto de que os filmes são portadores de significados que permitem o entendimento da relação do homem com seu tempo histórico. Para isso pautamo-nos na concepção de memória de Pilar Calveiro e, com o intuito de compreender a relação entre cinema, memória e sociedade, fundamentamo-nos na concepção de história e no referencial teórico e metodológico de Walter Benjamin, que propõe, ainda, que pensemos sobre a função política do cinema. E para pensarmos na relação entre obra de arte e sociedade lançamos mão do conceito de refração de Tânia Pelegrini e a concepção de representação de Pierre Sorlin. Por fim, nos baseamos nos conceitos de trauma e ressentimento com o intuito de compreendermos como o cinema representa a relação do passado ditatorial com o presente.

The present research focuses on the question of memory and representation of the Brazilian civil-military dictatorship through the analysis of two films, Pra Frente Brasil (1982) [Go further Brazil] and Ação Entre Amigos [Action between friends] (1998), which explore this period of national history. Our goal was to understand the contributions and limits of these two pieces of cinematographic work as bearers of civil military dictatorship memories. So, we examine how the civil-military dictatorship comes to the scene in the mentioned pictures, relating them to their own production context. We take as presupposition the fact that films are bearers of meanings that allow us to understand the relation between human beings and their historical time. For that we take as our own the Pilar Calveiross conception of memory and, trying to comprehend the relation between cinema, memory and society, we found our theory on Walter Benjamins theoretical and methodological referential, as on his conception of History. This author proposes, by the way, that we may think on the cinemas political function. To investigate the relation between art work and society we use Tania Pelegrinis concept of refraction and the Pierre Sorlins conception of representation. At last, we found on the trauma and resentment concepts, willing to comprehend how cinema represents the relation between the dictatorial past with the present.

Advisors/Committee Members: Tânia Pellegrini.

Subjects/Keywords: Sociologia; Cinema; Memória; Ditadura civilmilitar; Pra frente Brasil (Filme); Ação entre amigos (Filme); Trauma; Ressentimento; SOCIOLOGIA; Cinema; Memory; civil-military dictatorship; Trauma; Resentment

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APA (6^th Edition):

Novais, A. R. (2013). Cinema e memória da ditadura civil-militar no Brasil: Uma análise dos filmes Pra frente Brasil (1982) e Ação entre amigos (1998). (Thesis). Universidade Federal de São Carlos. Retrieved from http://www.bdtd.ufscar.br/htdocs/tedeSimplificado//tde_busca/arquivo.php?codArquivo=6848

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Novais, Adriana Rodrigues. “Cinema e memória da ditadura civil-militar no Brasil: Uma análise dos filmes Pra frente Brasil (1982) e Ação entre amigos (1998).” 2013. Thesis, Universidade Federal de São Carlos. Accessed March 07, 2021. http://www.bdtd.ufscar.br/htdocs/tedeSimplificado//tde_busca/arquivo.php?codArquivo=6848.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Novais, Adriana Rodrigues. “Cinema e memória da ditadura civil-militar no Brasil: Uma análise dos filmes Pra frente Brasil (1982) e Ação entre amigos (1998).” 2013. Web. 07 Mar 2021.

Vancouver:

Novais AR. Cinema e memória da ditadura civil-militar no Brasil: Uma análise dos filmes Pra frente Brasil (1982) e Ação entre amigos (1998). [Internet] [Thesis]. Universidade Federal de São Carlos; 2013. [cited 2021 Mar 07]. Available from: http://www.bdtd.ufscar.br/htdocs/tedeSimplificado//tde_busca/arquivo.php?codArquivo=6848.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Novais AR. Cinema e memória da ditadura civil-militar no Brasil: Uma análise dos filmes Pra frente Brasil (1982) e Ação entre amigos (1998). [Thesis]. Universidade Federal de São Carlos; 2013. Available from: http://www.bdtd.ufscar.br/htdocs/tedeSimplificado//tde_busca/arquivo.php?codArquivo=6848

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Universitat Pompeu Fabra

11. Lluró, Josep M. Pasolini en context: Trauma, memòria, identitat i història cultural a la Itàlia de postguerra.

Degree: Departament d'Humanitats, 2016, Universitat Pompeu Fabra

URL: http://hdl.handle.net/10803/396253

► Throughhiswork, Pasolini conceptualized the destructive processes of post- SecondWorldWarcapitalism. Hisnarrativefocuses on the processes from the perspective of social groupsfromdilapidatedsuburbs: a mass of dispossessedpeoplewhocreated a hybridculturebetween… (more)

Subjects/Keywords: Antropologia; Cinema; Consumisme; Cos; Feixisme; Història; Identitat; Itàlia; Marxisme; Neoliberalisme; Novel·la; Poesia; Trauma; Anthropology; Body; Cinema; Consumerism; Fascism; History; Identity; Italy; Marxism; Neoliberalism; Novel; Poetry; Trauma; 82

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APA (6^th Edition):

Lluró, J. M. (2016). Pasolini en context: Trauma, memòria, identitat i història cultural a la Itàlia de postguerra. (Thesis). Universitat Pompeu Fabra. Retrieved from http://hdl.handle.net/10803/396253

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Lluró, Josep M. “Pasolini en context: Trauma, memòria, identitat i història cultural a la Itàlia de postguerra.” 2016. Thesis, Universitat Pompeu Fabra. Accessed March 07, 2021. http://hdl.handle.net/10803/396253.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Lluró, Josep M. “Pasolini en context: Trauma, memòria, identitat i història cultural a la Itàlia de postguerra.” 2016. Web. 07 Mar 2021.

Vancouver:

Lluró JM. Pasolini en context: Trauma, memòria, identitat i història cultural a la Itàlia de postguerra. [Internet] [Thesis]. Universitat Pompeu Fabra; 2016. [cited 2021 Mar 07]. Available from: http://hdl.handle.net/10803/396253.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Lluró JM. Pasolini en context: Trauma, memòria, identitat i història cultural a la Itàlia de postguerra. [Thesis]. Universitat Pompeu Fabra; 2016. Available from: http://hdl.handle.net/10803/396253

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Cornell University

12. Yi, We Jung. Family Apart: The Aesthetic Genealogy Of Korean War Memories.

Degree: PhD, East Asian Literature, 2013, Cornell University

URL: http://hdl.handle.net/1813/34380

► This dissertation examines the formation of national subjectivity in South Korea through an analysis of what I call "Korean War memory works." Countering the selective… (more)

▼ This dissertation examines the formation of national subjectivity in South Korea through an analysis of what I call "Korean War memory works." Countering the selective remembering and forgetting of the unfinished war at the level of official discourse, these mnemonic texts have informed the political un/conscious of the divided nation. In tracing how such countermemories contend and negotiate with the statist interpellation of Korean subjects, I direct attention to the trope of the broken family that persistently appears in Korean War narratives and images. While relating this "failed" family romance to a collective mourning process, I also reveal its generative power to produce the fantasy of an originary community. As I unpack the myth of the indivisible family-nation, I further criticize through a feminist psychoanalytic lens the patriarchal symbolic order that underlies the familial imagination employed by oppositional nationalism. The postwar texts selected here for discussion are situated within the historical contexts in which each mode of representation, in association with a distinctive subject of narration, became a hegemonic way of grasping the unresolved past. Chapter One scrutinizes the intellectual subjectivity crystallized in Choi In-hoon's "novels of ideas," and reinterprets them as the unfulfilled Bildungsroman of the "4.19 generation." Chapter Two probes the embodiment of the minjung, foregrounded in the 1980s' protests against domestic dictatorship and US imperialism, through a review of Jo Jung-rae's historical novel Taebaeksanmaek. Chapter Three addresses Park Wansuh's literary testimonies of the Korean War with an emphasis on the daughternarrator's transformation through her confrontation and reconciliation with the (m)other, another witness in silent struggle. Chapter Four discusses the recent phenomenon of Korean War blockbusters, focusing on how such a spectacular memorialization in the "post-Cold War" era deals with the desires and anxieties of contemporary Koreans who in their everyday life encounter simultaneously the haunting legacies of Korea's partition and the new imperatives of global capitalism. By piecing together dispersed memories of the Korean War in these various aesthetic practices, this study seeks to rethink South Korean cultural identity in relation to its postcolonial history of "national division" and the familial structure of its remembrance. Advisors/Committee Members: de Bary, Brett (chair), Shin, Michael (committee member), Sakai, Naoki (committee member), Liu, Petrus Yi-Der (committee member).

Subjects/Keywords: Korean War memories; literature; cinema; national subjectivity; family; gender; trauma; representation; mourning

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APA (6^th Edition):

Yi, W. J. (2013). Family Apart: The Aesthetic Genealogy Of Korean War Memories. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/34380

Chicago Manual of Style (16^th Edition):

Yi, We Jung. “Family Apart: The Aesthetic Genealogy Of Korean War Memories.” 2013. Doctoral Dissertation, Cornell University. Accessed March 07, 2021. http://hdl.handle.net/1813/34380.

MLA Handbook (7^th Edition):

Yi, We Jung. “Family Apart: The Aesthetic Genealogy Of Korean War Memories.” 2013. Web. 07 Mar 2021.

Vancouver:

Yi WJ. Family Apart: The Aesthetic Genealogy Of Korean War Memories. [Internet] [Doctoral dissertation]. Cornell University; 2013. [cited 2021 Mar 07]. Available from: http://hdl.handle.net/1813/34380.

Council of Science Editors:

Yi WJ. Family Apart: The Aesthetic Genealogy Of Korean War Memories. [Doctoral Dissertation]. Cornell University; 2013. Available from: http://hdl.handle.net/1813/34380

University of Manchester

13. Levi, Dejan. Negotiating tropes of madness : trauma and identity in post-Yugoslav cinemas.

Degree: PhD, 2014, University of Manchester

URL: https://www.research.manchester.ac.uk/portal/en/theses/negotiating-tropes-of-madness-trauma-and-identity-in-postyugoslav-cinemas(70e003f1-291b-4fb4-b14a-b1ec628750c5).html ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603224

► This thesis examines how madness has been used in post-Yugoslav cinemas to facilitate thinking about experiences of the break-up of the SFRY throughout the 1990s… (more)

▼ This thesis examines how madness has been used in post-Yugoslav cinemas to facilitate thinking about experiences of the break-up of the SFRY throughout the 1990s and 2000s, its consequences and implications for the future. The study conceptualises post-Yugoslav film cultures as public spheres in which artistic and industrial practices are often combined to create meaning around the core themes of trauma and identity in post-Yugoslav cultures. Working with seven feature-length titles from a range of post-Yugoslav successor states (Croatia, Bosnia and Herzegovina, Serbia, Macedonia and Kosovo) I illustrate how images of madness have been essential in the cultural processing of events of the 1990s. Whilst featuring individuals suffering mental instabilities and disturbances, and sometimes asylums or mental health institutions, I contend such films are not ultimately concerned – on a thematic level – with mental health, but instead focus on the use of such characters in a metaphoric capacity for engaging core themes of Yugoslav break-up, conflicts, and difficulties of subsequent transition. Using the semantic/syntactic approach to genre, I identify two common ways in which madness is used on a textual level to engage these core themes. The first of these, the ‘inside-out asylum trope of madness’, is concerned with the use of the asylum in films which assess critically the dominant political ideologies of the successor states in question at a time when political pluralism was not yet established by the transition process. Films discussed include Burlesque Tragedy (Marković, 1995), Marshall Tito’s Spirit (Brešan, 1999), and Kukumi (Qosja, 2005). The second trope is the ‘multiple realities trope of madness’ in which the presentation of diegetic reality on screen is adapted to reflect various conceptualisations of trauma and loss arising from Yugoslav break-up and transition. Here the films include Loving Glances (Karanović, 2003), Fuse (Žalica, 2003), Mirage (Ristovski, 2004) and Land of Truth, Love and Freedom (Petrović, 2000). Across the films selected, it is madness which ultimately provides a diverse pool of metaphors and images for an assessment of Yugoslavia’s traumatic demise and the ensuing process of picking through the debris of its ideology, cultural practices, values and ways of living for precisely what might be salvageable and what should be discarded.

Subjects/Keywords: 791.43; Film studies; post-Yugoslav cinema; Madness; Trauma; Yugoslavia; Identity; Serbia; Montenegro; Croatia; Kosovo; Bosnia and Herzegovina; Macedonia; Slovenia

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APA (6^th Edition):

Levi, D. (2014). Negotiating tropes of madness : trauma and identity in post-Yugoslav cinemas. (Doctoral Dissertation). University of Manchester. Retrieved from https://www.research.manchester.ac.uk/portal/en/theses/negotiating-tropes-of-madness-trauma-and-identity-in-postyugoslav-cinemas(70e003f1-291b-4fb4-b14a-b1ec628750c5).html ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603224

Chicago Manual of Style (16^th Edition):

Levi, Dejan. “Negotiating tropes of madness : trauma and identity in post-Yugoslav cinemas.” 2014. Doctoral Dissertation, University of Manchester. Accessed March 07, 2021. https://www.research.manchester.ac.uk/portal/en/theses/negotiating-tropes-of-madness-trauma-and-identity-in-postyugoslav-cinemas(70e003f1-291b-4fb4-b14a-b1ec628750c5).html ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603224.

MLA Handbook (7^th Edition):

Levi, Dejan. “Negotiating tropes of madness : trauma and identity in post-Yugoslav cinemas.” 2014. Web. 07 Mar 2021.

Vancouver:

Levi D. Negotiating tropes of madness : trauma and identity in post-Yugoslav cinemas. [Internet] [Doctoral dissertation]. University of Manchester; 2014. [cited 2021 Mar 07]. Available from: https://www.research.manchester.ac.uk/portal/en/theses/negotiating-tropes-of-madness-trauma-and-identity-in-postyugoslav-cinemas(70e003f1-291b-4fb4-b14a-b1ec628750c5).html ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603224.

Council of Science Editors:

Levi D. Negotiating tropes of madness : trauma and identity in post-Yugoslav cinemas. [Doctoral Dissertation]. University of Manchester; 2014. Available from: https://www.research.manchester.ac.uk/portal/en/theses/negotiating-tropes-of-madness-trauma-and-identity-in-postyugoslav-cinemas(70e003f1-291b-4fb4-b14a-b1ec628750c5).html ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603224

University of Illinois – Urbana-Champaign

14. Huang, Yiju. Wounds in time: the aesthetic afterlives of the Cultural Revolution.

Degree: PhD, 0285, 2011, University of Illinois – Urbana-Champaign

URL: http://hdl.handle.net/2142/26247

► My dissertation, ???Wounds in Time: the Aesthetic Afterlives of the Cultural Revolution,??? departs from the traditional historicist approach to the Cultural Revolution, contributing instead an… (more)

Subjects/Keywords: trauma; trauma theory; Cultural Revolution; China; literature; Chinese literature; Chinese modern literature; art; Chinese art; Chinese modern art; film; Chinese film; cinema; Chinese cinema; Zhang Xiaogang; Hong Ying; Han Shaogong; Jiang Wen; Ann Hui; Ba Jin

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APA (6^th Edition):

Huang, Y. (2011). Wounds in time: the aesthetic afterlives of the Cultural Revolution. (Doctoral Dissertation). University of Illinois – Urbana-Champaign. Retrieved from http://hdl.handle.net/2142/26247

Chicago Manual of Style (16^th Edition):

Huang, Yiju. “Wounds in time: the aesthetic afterlives of the Cultural Revolution.” 2011. Doctoral Dissertation, University of Illinois – Urbana-Champaign. Accessed March 07, 2021. http://hdl.handle.net/2142/26247.

MLA Handbook (7^th Edition):

Huang, Yiju. “Wounds in time: the aesthetic afterlives of the Cultural Revolution.” 2011. Web. 07 Mar 2021.

Vancouver:

Huang Y. Wounds in time: the aesthetic afterlives of the Cultural Revolution. [Internet] [Doctoral dissertation]. University of Illinois – Urbana-Champaign; 2011. [cited 2021 Mar 07]. Available from: http://hdl.handle.net/2142/26247.

Council of Science Editors:

Huang Y. Wounds in time: the aesthetic afterlives of the Cultural Revolution. [Doctoral Dissertation]. University of Illinois – Urbana-Champaign; 2011. Available from: http://hdl.handle.net/2142/26247

15. Shu, Yongzhen. Post-socialist regime and popular imagination in Chinese cinema in the twenty-first century : Lu Chan and his films.

Degree: PhD, Asian Cultures and Languages, 2012, University of Texas – Austin

URL: http://hdl.handle.net/2152/ETD-UT-2012-08-6320

► Under the tensions of nationalization and globalization, mainland Chinese cinema has undergone tremendous changes in terms of industrial transformations, diversification of film language, style and… (more)

▼ Under the tensions of nationalization and globalization, mainland Chinese cinema has undergone tremendous changes in terms of industrial transformations, diversification of film language, style and genre, revenues, etc. in the new century. This is epitomized in a new surge of commercial entertainment cinema. This dissertation examines Lu Chuan and his films among this surge and as a representative of the new development of Chinese popular cinema. The study reveals a new political regime and a new popular imagination in China with its greater integration into the international system of global capitalism in in the first decade of the twenty-first century. I apply Pierre Bourdieu’s theory of the field of cultural production to explore structural transformations in the field of Chinese cinema, and trace these changes to the shaping forces in the larger fields of Chinese power and economy. This structural examination is related to the agency of individuals as cultural entrepreneurs maneuvering their way within the state system through alliance of power, capital and talent, and forming their own voices and a public space. Theories of popular cultural studies help me analyze Lu Chuan’s films as a site where different international and domestic social, political, and cultural forces contend and negotiate with each other. I also draw upon theories of film studies to illustrate Lu Chuan’s application of international film language and styles including classical Hollywood cinema and the art film in rendering Chinese socialist stories in the age of globalization. Instead of treating Lu Chuan as an auteur or artistic creator, I look into his authorship as a site of different discourses and a technique of the self, which helps him distinguish his films from others and establish his position in the field. Trauma studies provide a useful tool in discussing Chinese cinematic representations of the national trauma, the Nanjing Massacre, during different historical periods, and Chinese nation’s continuing effort in grappling with this trauma. This textual analysis is to illustrate the newest development in Chinese cinema. The purpose of this study is to demonstrate the historical transformation of Chinese society and to identify the forces that shaped Chinese cinema, which took form in a new alliance amongst power, capital, and art, and contributed to a post-socialist popular imagination in China in the first decade of the new century. Advisors/Committee Members: Chang, Sung-sheng, 1951- (advisor), Staiger, Janet (committee member), Kumar, Shanti (committee member), Li, Huaiyin (committee member), Tsai, Chien-Hsin (committee member).

Subjects/Keywords: Chinese cinema; Lu Chuan; Authorship; Trauma; Popular culture

…as those on classical Hollywood cinema, international art films, authorship, trauma studies… …international art films, trauma cinema and Chinese national trauma, cinema’s engagement with national… …application of international film language and styles including classical Hollywood cinema and the… …others and establish his position in the field. Trauma studies provide a useful tool in… …discussing Chinese cinematic representations of the national trauma, the Nanjing Massacre, during…

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Shu, Y. (2012). Post-socialist regime and popular imagination in Chinese cinema in the twenty-first century : Lu Chan and his films. (Doctoral Dissertation). University of Texas – Austin. Retrieved from http://hdl.handle.net/2152/ETD-UT-2012-08-6320

Chicago Manual of Style (16^th Edition):

Shu, Yongzhen. “Post-socialist regime and popular imagination in Chinese cinema in the twenty-first century : Lu Chan and his films.” 2012. Doctoral Dissertation, University of Texas – Austin. Accessed March 07, 2021. http://hdl.handle.net/2152/ETD-UT-2012-08-6320.

MLA Handbook (7^th Edition):

Shu, Yongzhen. “Post-socialist regime and popular imagination in Chinese cinema in the twenty-first century : Lu Chan and his films.” 2012. Web. 07 Mar 2021.

Vancouver:

Shu Y. Post-socialist regime and popular imagination in Chinese cinema in the twenty-first century : Lu Chan and his films. [Internet] [Doctoral dissertation]. University of Texas – Austin; 2012. [cited 2021 Mar 07]. Available from: http://hdl.handle.net/2152/ETD-UT-2012-08-6320.

Council of Science Editors:

Shu Y. Post-socialist regime and popular imagination in Chinese cinema in the twenty-first century : Lu Chan and his films. [Doctoral Dissertation]. University of Texas – Austin; 2012. Available from: http://hdl.handle.net/2152/ETD-UT-2012-08-6320

University of Stirling

16. Mai, Nadin. The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz.

Degree: PhD, 2015, University of Stirling

URL: http://hdl.handle.net/1893/22990

► Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema… (more)

Subjects/Keywords: film; Slow Cinema; cinema; Lav Diaz; Philippines; history; memory; trauma; PTSD; concentrationary; terror; extrajudicial killings; torture; rape; post-trauma; Death in the Land of Encantos; Melancholia; Florentina Hubaldo CTE; Trauma Cinema; Janet Walker; Roger Luckhurst; Susannah Radstone; aesthetics; duration; absence; latency period; instantaneity; flashbacks; anxiety; Cathy Caruth; Raya Morag; failed witnessing; Trauma Studies; Philippine Cinema; trauma therapy; sound; silence; framing; ghosts; haunting; Béla Tarr; Tsai Ming-liang; Apichatpong Weerasethakul; Ari Folman; Rithy Panh; Waltz with Bashir; time; long-take; colonialism; oppression; psyche; poverty; Martial Law; l’univers concentrationnaire; hamlets; speed; off-screen space; temporality; power; psychological warfare; mental paralysis; the disappeared; chronic trauma; backstory wounds; repetition; circularity; post-traumatic cinema; death; depletion; ethics; atrocity; painting; landscape painting; Rückenfigur; Chinese painting; accousmêtre; accousmatic; mourning; grief; Slow cinema; Diaz, Lav, 1958- Filmmaker; Motion picture producers and directors Philippines

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APA (6^th Edition):

Mai, N. (2015). The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz. (Doctoral Dissertation). University of Stirling. Retrieved from http://hdl.handle.net/1893/22990

Chicago Manual of Style (16^th Edition):

Mai, Nadin. “The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz.” 2015. Doctoral Dissertation, University of Stirling. Accessed March 07, 2021. http://hdl.handle.net/1893/22990.

MLA Handbook (7^th Edition):

Mai, Nadin. “The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz.” 2015. Web. 07 Mar 2021.

Vancouver:

Mai N. The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz. [Internet] [Doctoral dissertation]. University of Stirling; 2015. [cited 2021 Mar 07]. Available from: http://hdl.handle.net/1893/22990.

Council of Science Editors:

Mai N. The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz. [Doctoral Dissertation]. University of Stirling; 2015. Available from: http://hdl.handle.net/1893/22990

17. Zhang, Shiya. Does time heal?: cinematic reconstruction of historical trauma in twenty-first century China.

Degree: Department of Pacific and Asian Studies, 2018, University of Victoria

URL: https://dspace.library.uvic.ca//handle/1828/9207

► While the whole world is talking about China’s rise in wealth and power, most focus has been placed on understanding China’s present policies and future… (more)

▼ While the whole world is talking about China’s rise in wealth and power, most focus has been placed on understanding China’s present policies and future orientations. However, very little attention is devoted to examining how historical consciousness aﬀects present China. People take for granted that the past—particularly the landmark traumas of the communist decades—is a far-reaching historical discontinuity, and that China’s profound changes in every aspect of society have rendered the past increasingly irrelevant. However, this thesis argues that this assumption is wrong. This thesis explores the ways that Chinese filmmakers rearticulate the historical traumas which continue to affect Chinese society in the post-WTO era. I will identify three historical traumas that feature prominently in the interplay between past and present. The first, revolution and modernization, occupies a hegemonic status in socialist history. The second historical trauma is the tradition and modernization entrenched in Chinese modern historiography. The third is the 1980s and post-1989 modernization that has found a voice in the period of reform and opening-up. I refer to and analyze a selection of films made by Chinese Fifth Generation filmmakers in the new century—Coming Home (Guilai, dir. Zhang Yimou, 2014), Together (He ni zai yiqi, dir. Chen Kaige, 2002), and The Founding of a Republic (Jianguo daye, dir. Han Sanping and Huang Jianxin, 2009)—to understand these historical traumas. To situate traumatic history in a broader Asian context, I will also offer comparative study of memory of World War II in postwar Japan by undertaking a close reading of Merry Christmas, Mr. Lawrence (Senjo no merii kurisumasu, dir. Nagisa Oshima, 1983). Employing a combination of methods, including textual analysis of films and institutional analysis of film industries, I will demonstrate that cinema finds innovative ways to engage the significant parts of national history and to generate remembrance and interpretation. Rather than reducing the Fifth Generation’s filmmaking trends in the new millennium to simplified government-appeasing or commercialization, this thesis emphasizes an understanding of their recollection of history, memory and trauma in a broader sociopolitical, economic, and cultural context. It shows how various factors—including the government’s cultural policy, economic transformation, and individual and generational sentiments—have influenced and shaped the historical discourses at specific historical moments. While affirming the significant role these films have played in keeping collective memories alive in the public sphere, this thesis also calls attention to their limitations, such as the problematic nostalgia for the Cultural Revolution, as well as the escapist imagination of cultural heritage and traditional values. Advisors/Committee Members: King, Richard (supervisor).

Subjects/Keywords: China; the Fifth Generation; cinema; historical trauma; Japanese New Wave Cinema

…Cinema. As for Chen Kaige, he is now acknowledged as a key Fifth Generation filmmaker who… …Huang tudi, 1984), heralded the beginning of Chinese New Wave Cinema (though this… …Contemporary Cinema (Dangdai dianying).1 Both Chen and Oshima were survivors of national… …trauma, with erratic lived experiences that reflected the social and political upheavals of… …Oshima” (Chen Kaige yu Dadao Zhu duitan), Contemporary Cinema (Dangdai dianying…

10 more images…

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APA (6^th Edition):

Zhang, S. (2018). Does time heal?: cinematic reconstruction of historical trauma in twenty-first century China. (Masters Thesis). University of Victoria. Retrieved from https://dspace.library.uvic.ca//handle/1828/9207

Chicago Manual of Style (16^th Edition):

Zhang, Shiya. “Does time heal?: cinematic reconstruction of historical trauma in twenty-first century China.” 2018. Masters Thesis, University of Victoria. Accessed March 07, 2021. https://dspace.library.uvic.ca//handle/1828/9207.

MLA Handbook (7^th Edition):

Zhang, Shiya. “Does time heal?: cinematic reconstruction of historical trauma in twenty-first century China.” 2018. Web. 07 Mar 2021.

Vancouver:

Zhang S. Does time heal?: cinematic reconstruction of historical trauma in twenty-first century China. [Internet] [Masters thesis]. University of Victoria; 2018. [cited 2021 Mar 07]. Available from: https://dspace.library.uvic.ca//handle/1828/9207.

Council of Science Editors:

Zhang S. Does time heal?: cinematic reconstruction of historical trauma in twenty-first century China. [Masters Thesis]. University of Victoria; 2018. Available from: https://dspace.library.uvic.ca//handle/1828/9207

Aristotle University Of Thessaloniki (AUTH); Αριστοτέλειο Πανεπιστήμιο Θεσσαλονίκης (ΑΠΘ)

18. Dimoulas, Dimos. From absence to trauma: a study on the representation of the occupation and the civil war in greek films of the period 1946-1989.

Degree: 2017, Aristotle University Of Thessaloniki (AUTH); Αριστοτέλειο Πανεπιστήμιο Θεσσαλονίκης (ΑΠΘ)

URL: http://hdl.handle.net/10442/hedi/41354

►

The present thesis undertook to examine how the historical events of the Nazi Occupation and the Greek Civil War were represented in an extensive range… (more)

▼

The present thesis undertook to examine how the historical events of the Nazi Occupation and the Greek Civil War were represented in an extensive range of films produced between 1946 and 1989. Through a detailed reading, the study attempted a critical analysis of cinematic depictions of the 1940s events in more than eighty films. Particular emphasis was given to the social, cultural and political environment in which movies were created and which affected the postwar filmic production. Occupation films appeared shortly after the end of the Second World War. However, the representation of the Civil War has been completely elided from screen. Through a close examination of the thematic concerns of several popular films of the post-war period, the thesis explored the ways in which the issue of the Civil War actually appeared in disguised forms in the narratives of classical cinema. The historically-themed pictures of the late 1960s and early 1970s was another main focus of this thesis. By examining Occupation and Civil War-themed features released between 1967 and 1974, the thesis identified the structure of the Dictatorship’s vision of the nation and recent history.Regarding cinematic production after 1974, the dissertation highlighted the screen representation of the Occupation and the Civil War by the representatives of the New Greek Cinema. The post-1974 cinema has a clear left-wing orientation, in contrast to the majority of films released during the Dictatorship that had a right-wing and militaristic content. The directors of the New Greek Cinema shifted their focus from the depiction of the warfare and paid attention to marginal aspects of the conflict, such as the fate of the political refugees, or dealt with memories and trauma of the war. Therefore, the thesis was concerned with the relationship between trauma and film, centering upon pictures indicative of trauma narratives.

Η παρούσα μελέτη εξετάζει την αναπαράσταση των ιστορικών γεγονότων της Κατοχής και του Ελληνικού Εμφυλίου Πολέμου σε ένα εκτεταμένο εύρος ταινιών που παρήχθησαν και κυκλοφόρησαν από το 1946 έως το 1989. Μέσω ενδελεχούς ανάγνωσης, η διατριβή αποπειράται να αναλύσει κριτικά τις φιλμικές αποτυπώσεις της δεκαετίας του 1940 σε περισσότερες από 80 ελληνικές ταινίες. Ιδιαίτερη έμφαση δίνεται το κοινωνικό, πολιτισμικό και πολιτικό περιβάλλον δημιουργίας των ταινιών, το οποίο επηρέασε τη μεταπολεμική κινηματογραφική παραγωγή. Τα φιλμ που αναφέρονται στην Κατοχή εμφανίστηκαν λίγο μετά το τέλος του Δευτέρου Παγκοσμίου Πολέμου. Ωστόσο, κατά τη μεταπολεμική περίοδο και έως τα τέλη της δεκαετίας του 1960, το θέμα του Εμφυλίου Πολέμου αποσιωπάται από την οθόνη. Μέσω λεπτομερούς εξερεύνησης των θεμάτων που αναδεικνύονται σε ταινίες του Παλιού Ελληνικού Κινηματογράφου, η διατριβή εξετάζει τους τρόπους με τους οποίους το ζήτημα του Εμφυλίου Πολέμου στην πραγματικότητα εμφανίζεται συγκεκαλυμμένα και με κρυπτικές μορφές στις αφηγήσεις του Κλασικού Κινηματογράφου. Επιπλέον, οι ιστορικής θεματολογίας ταινίες που κυκλοφόρησαν την περίοδο της Στρατιωτικής…

Subjects/Keywords: Ελληνικός εμφύλιος πόλεμος; Γερμανική κατοχή; Ελληνικός κινηματογράφος; Αναπαράσταση; Τραύμα; Κοινωνιογλωσσολογία; Ιστορία; Νέος ελληνικός κινηματογράφος; Μεταπολιτευτικός κινηματογράφος; Ελληνικός δημοφιλής κινηματογράφος; Modern greek history; German Occupation-Civil War; Film theory; Representation of the past; Trauma; Sociolinguistics; World war II; New greek cinema; Popular greek cinema

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APA (6^th Edition):

Dimoulas, D. (2017). From absence to trauma: a study on the representation of the occupation and the civil war in greek films of the period 1946-1989. (Thesis). Aristotle University Of Thessaloniki (AUTH); Αριστοτέλειο Πανεπιστήμιο Θεσσαλονίκης (ΑΠΘ). Retrieved from http://hdl.handle.net/10442/hedi/41354

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Dimoulas, Dimos. “From absence to trauma: a study on the representation of the occupation and the civil war in greek films of the period 1946-1989.” 2017. Thesis, Aristotle University Of Thessaloniki (AUTH); Αριστοτέλειο Πανεπιστήμιο Θεσσαλονίκης (ΑΠΘ). Accessed March 07, 2021. http://hdl.handle.net/10442/hedi/41354.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Dimoulas, Dimos. “From absence to trauma: a study on the representation of the occupation and the civil war in greek films of the period 1946-1989.” 2017. Web. 07 Mar 2021.

Vancouver:

Dimoulas D. From absence to trauma: a study on the representation of the occupation and the civil war in greek films of the period 1946-1989. [Internet] [Thesis]. Aristotle University Of Thessaloniki (AUTH); Αριστοτέλειο Πανεπιστήμιο Θεσσαλονίκης (ΑΠΘ); 2017. [cited 2021 Mar 07]. Available from: http://hdl.handle.net/10442/hedi/41354.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Dimoulas D. From absence to trauma: a study on the representation of the occupation and the civil war in greek films of the period 1946-1989. [Thesis]. Aristotle University Of Thessaloniki (AUTH); Αριστοτέλειο Πανεπιστήμιο Θεσσαλονίκης (ΑΠΘ); 2017. Available from: http://hdl.handle.net/10442/hedi/41354

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of New South Wales

19. Barnes, Annette. The soundtracks of Australian transcultural cinema: re-sounding the past.

Degree: Arts and Media, 2014, University of New South Wales

URL: http://handle.unsw.edu.au/1959.4/53725 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:12420/SOURCE02?view=true

► This thesis addresses a gap in current scholarship on Australian cinema by highlighting the role of the soundtrack in what I call an Australian transcultural… (more)

▼ This thesis addresses a gap in current scholarship on Australian cinema by highlighting the role of the soundtrack in what I call an Australian transcultural cinema. I argue that the iconic sounds belonging to the national cinema from the 1970s and 1980s are variously repositioned, silenced and manipulated in the more recent transcultural cinema in ways that critically re-sound Australia’s history. I develop three concepts – the sonic fetish, sonic artefact and sonic spectre – that codify and help explain why sounds hold certain meaning and are stored in bodily ways and in memory. Providing a method for listening to the soundtracks of transcultural cinema, I argue that soundtracks need to be broken down and listened to as sound events and that silence should be recognised for the powerful role it plays in a film soundtrack.By examining the development of the film sound industry in Australia, I highlight the reasons why the soundtrack is an integral element in recent Australian films. My argument is supported by interview material from interviews I conducted with some of Australia’s most respected filmmakers, sound professionals, educators and industry personnel for this project. To support my findings I provide a series of close listenings of films that include: 'Walkabout' (Roeg 1971), 'Picnic at Hanging Rock' (Weir 1975), 'The Sound of One Hand Clapping' (Flanagan 1998), 'Night Cries: A Rural Tragedy' (Moffatt 1989), and 'Samson and Delilah' (Thornton 2009b).I conceptualise Australian transcultural cinema as a genre that draws from global and cultural influences, where boundaries are blurred and meanings take on new shapes and forms. I highlight how this cinema makes use of the sonic semantic markers and syntactic elements of the road movie, melodrama and Gothic genres to tell stories that cut across the Australian landscape and challenge ideals and representations of Australian society, home and family. I argue that the Gothic, operating as a mode and generated by the soundtrack, underpins the melodrama and the road movie in Australian transcultural cinema.Through my examination of sound in Australian cinema, I argue that, largely driven by the soundtrack, Australian transcultural cinema generates and can resurrect sociological hauntings and in doing so, sounds out Australia’s ghostly remains. Advisors/Committee Members: Brooks, Jodi, Arts and Media, Faculty of Arts & Social Sciences, UNSW, Mills, Jane, Arts and Media, Faculty of Arts & Social Sciences, UNSW.

Subjects/Keywords: Sound; Film; Cinema; Soundtrack; Ghost; Haunting; Spectre; Hearing; Listening; Genre; Gothic; Silence; Interview; Sound Designer; Film Soundtrack; Director; Australian Film Industry; Australian Film Bodies; Australian Society; Fetish; Artefact; Australia; Australian Cinema; Australian History; Transcultural; Loss; Trauma; Memory

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Barnes, A. (2014). The soundtracks of Australian transcultural cinema: re-sounding the past. (Doctoral Dissertation). University of New South Wales. Retrieved from http://handle.unsw.edu.au/1959.4/53725 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:12420/SOURCE02?view=true

Chicago Manual of Style (16^th Edition):

Barnes, Annette. “The soundtracks of Australian transcultural cinema: re-sounding the past.” 2014. Doctoral Dissertation, University of New South Wales. Accessed March 07, 2021. http://handle.unsw.edu.au/1959.4/53725 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:12420/SOURCE02?view=true.

MLA Handbook (7^th Edition):

Barnes, Annette. “The soundtracks of Australian transcultural cinema: re-sounding the past.” 2014. Web. 07 Mar 2021.

Vancouver:

Barnes A. The soundtracks of Australian transcultural cinema: re-sounding the past. [Internet] [Doctoral dissertation]. University of New South Wales; 2014. [cited 2021 Mar 07]. Available from: http://handle.unsw.edu.au/1959.4/53725 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:12420/SOURCE02?view=true.

Council of Science Editors:

Barnes A. The soundtracks of Australian transcultural cinema: re-sounding the past. [Doctoral Dissertation]. University of New South Wales; 2014. Available from: http://handle.unsw.edu.au/1959.4/53725 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:12420/SOURCE02?view=true

20. Kelen Martins Andrade. Climatologia e comportamento dos sistemas frontais sobre a América do Sul.

Degree: 2005, Instituto Nacional de Pesquisas Espaciais

URL: http://urlib.net/sid.inpe.br/jeferson/2005/06.15.17.12

►

Neste estudo foi feita uma climatologia do período de 1980-2002 dos sistemas frontais que afetam o Brasil, em várias áreas, e foram destacados os padrões… (more)

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Neste estudo foi feita uma climatologia do período de 1980-2002 dos sistemas frontais que afetam o Brasil, em várias áreas, e foram destacados os padrões atmosféricos em relação ao deslocamento das frentes pelo Brasil e sul da América do Sul. Foi observada uma diminuição de sistemas frontais em direção a latitudes mais baixas e menor freqüência no verão. No inverno mais frentes frias conseguem avançar pelo interior do Brasil. Na área considerada ao sul de 35°S não há uma variabilidade sazonal significativa. Quanto ao comportamento, foram observados alguns padrões e características das variáveis atmosféricas relevantes ao deslocamento dos sistemas. Em superfície foi notado que a intensidade e o posicionamento dos sistemas de alta e baixa pressão são características importantes no deslocamento dos sistemas, no inverno e verão. A alta pressão mais intensa sobre o Pacífico e menos intensa sobre o Atlântico favoreceu o avanço das frentes. Pressões ligeiramente mais altas sobre o centro-sul do Brasil acompanhada de forte subsidência impediram o avanço dos sistemas frontais. A intensidade do escoamento de norte em baixos níveis sobre o continente e oceano, quando a frente se encontra na região mais ao sul analisada (sul da América do Sul), é também relacionada com o seu deslocamento. Em altos níveis, intensas anomalias zonais positivas de geopotencial sobre o Sul do Brasil e sobre o Pacífico, mais afastada da costa oeste da América do Sul, favoreceram o deslocamento das frentes para o oceano. A posição do jato em altos níveis, também favoreceu o deslocamento das frentes sobre o continente. No verão, a Alta da Bolívia mais afastada para oeste ou o Cavado do Nordeste para leste favoreceu o avanço das frentes frias para latitudes mais baixas. Dois estudos de casos extremos, no verão e inverno, destacaram a evolução dos sistemas frontais com relação às configurações atmosféricas, algumas delas encontradas nos compostos.

A climatology from 1980 to 2002 of frontal systems that reach Brazil and the main atmospheric patterns related to their displacement over the continent are analysed in this study. A reduction of frontal systems was observed in low latitudes and in summer. During the winter, more cold fronts can reach interior areas of Brazil. There is not a significant seasonal variability south of 35°S. Atmospheric characteristics relevant to the displacement of the systems were identified. It was noticed that the intensity and position of low and high pressure systems are important features associated with the displacement of the frontal systems. The intensity of low level flow over the continent and ocean, when the front is located in the southernmost analysed region (south of South America), is also related to its displacement to the ocean or over the continent. High pressure over southeast Pacific and less intense over the Atlantic Ocean, were favorable to the displacement of systems to lower latitudes over Brazil. Higher pressure and subsidence over central-south Brazil inhibited the movement of the fronts over the…

Advisors/Committee Members: Maria Gertrudes Alvares Justi da Silva, Nelson Jesus Ferreira, Iracema Fonseca de Albuquerque Cavalcanti, Prakki Satyamurty.

Subjects/Keywords: Ficção brasileira Séc. XX Adaptações para cinema e vídeo Teses.; Cinema e literatura Teses.; Adaptações para o cinema Teses.; Linguagem cinematográfica Teses.; Estrangeiros na literatura Teses.; Trauma craniocerebral/diagnóstico DeCS; Morbidade DeCS; Hemorragia cerebral trumática/complicações DeCS; Técnicas de diagnóstico e procedimentos/tendências DeCS; Radiografia/utilização DeCS; Radiografia/economia DeCS; Estudos prospectivos DeCS; Análise multivariada DeCS; Escala de coma de Glasgow DeCS

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Andrade, K. M. (2005). Climatologia e comportamento dos sistemas frontais sobre a América do Sul. (Thesis). Instituto Nacional de Pesquisas Espaciais. Retrieved from http://urlib.net/sid.inpe.br/jeferson/2005/06.15.17.12

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Andrade, Kelen Martins. “Climatologia e comportamento dos sistemas frontais sobre a América do Sul.” 2005. Thesis, Instituto Nacional de Pesquisas Espaciais. Accessed March 07, 2021. http://urlib.net/sid.inpe.br/jeferson/2005/06.15.17.12.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Andrade, Kelen Martins. “Climatologia e comportamento dos sistemas frontais sobre a América do Sul.” 2005. Web. 07 Mar 2021.

Vancouver:

Andrade KM. Climatologia e comportamento dos sistemas frontais sobre a América do Sul. [Internet] [Thesis]. Instituto Nacional de Pesquisas Espaciais; 2005. [cited 2021 Mar 07]. Available from: http://urlib.net/sid.inpe.br/jeferson/2005/06.15.17.12.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Andrade KM. Climatologia e comportamento dos sistemas frontais sobre a América do Sul. [Thesis]. Instituto Nacional de Pesquisas Espaciais; 2005. Available from: http://urlib.net/sid.inpe.br/jeferson/2005/06.15.17.12

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

21. Dinkelbach, Stefanie. The Legacy (Das Vermächtnis): the role of cultural production in the reprocessing of collective experiences that are equivalent to trauma .

Degree: 2013, National University of Ireland – Galway

URL: http://hdl.handle.net/10379/3752

► This project attempts to address and raise awareness of a loss of social and emotional connection (Bezugsverlust) that has developed over time in German society… (more)

▼ This project attempts to address and raise awareness of a loss of social and emotional connection (Bezugsverlust) that has developed over time in German society and explains how this disconnection can, and has, led to collective violence. Cultural productions - works of art, music, literature, film, etc - have the potential to facilitate a mental and emotional reconnection and thereby contribute towards the need to 'address and process the violent legacy of Germany's recent past' (Vergangenheitsbewältigung). This thesis explores the role of cultural productions both theoretically and practically in this context. A large proportion of German post-war cultural productions directly or indirectly relate to the collective violence of the National Socialist regime. However, a lack of empathy with the victims of the Holocaust has repeatedly been observed within German post-war literature and film (e.g., Schlant 2001, Hahn 2005). The theory-based part of this research attempts to explain this phenomenon, while the film The Legacy, as the practice-based element, addresses this lack of empathy by offering opportunities by which an emotional connection with the victims can be experienced. An interdisciplinary approach was employed that integrated studies from neurobiology, psychotherapy and sociology to explain Bezugsverlust theoretically. Sample cultural productions that responded to various experiences of social crises from different periods of German history were subject to detailed analysis. The lack of empathy with the victims of the Holocaust that can be found in post-war German cultural productions is read as a sign that Bezugsverlust developed in German society as a result of insufficiently processed experiences of social crises. Since society as a whole repeatedly experienced trauma-like events, that were not satisfactorily addressed and processed at the time, the experience of Bezugsverlust increased over time and led to the facilitation of extreme racist ideologies. The loss of social and emotional interconnection to those outsider groups that became the victims of the Holocaust persists to this day. The Legacy attempts to address this issue and to raise awareness of the connection between Bezugsverlust and violence and to offer opportunities for the viewer to re-establish the emotional bond to the victims of the Holocaust that was lost. The film uses a format that deconstructs existing conventions through form in which archive footage, documentary sequences, text and music are brought together. A survey of three small sample screenings assesses to what extent the film contributed to the process of Vergangenheitsbewältigung. The findings of the survey confirmed that while the unconventional format of the film restricted its reception, it also encouraged an active mental and emotional response in which reprocessing could occur. The response of some viewers showed that empathy with the victims and a sense of mourning and loss was experienced. The potential of cultural productions to assist in what can be… Advisors/Committee Members: Stoneman, Rod (advisor), Doheny, Niamh (advisor), Malesevic, Sinisa (advisor).

Subjects/Keywords: Trauma; Post-traumatic growth; Collective memory; Cultural trauma; Trauma cinema; Holocaust; Vergangenheitsbewältigung; Huston School of Film and Digital Media

…experiences of social crises. Since society as a whole repeatedly experienced trauma-like events… …what can be called ‘the reprocessing of collective experiences that are equivalent to trauma… …understanding of trauma in which a personal traumatic experience causes a loss of mental and emotional… …connection, and, in an analogous manner, the macro-scale social effect of such trauma expressed… …collectively, thereby leading to a society that is, as a whole, experiencing something akin to trauma…

10 more images…

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Dinkelbach, S. (2013). The Legacy (Das Vermächtnis): the role of cultural production in the reprocessing of collective experiences that are equivalent to trauma . (Thesis). National University of Ireland – Galway. Retrieved from http://hdl.handle.net/10379/3752

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Dinkelbach, Stefanie. “The Legacy (Das Vermächtnis): the role of cultural production in the reprocessing of collective experiences that are equivalent to trauma .” 2013. Thesis, National University of Ireland – Galway. Accessed March 07, 2021. http://hdl.handle.net/10379/3752.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Dinkelbach, Stefanie. “The Legacy (Das Vermächtnis): the role of cultural production in the reprocessing of collective experiences that are equivalent to trauma .” 2013. Web. 07 Mar 2021.

Vancouver:

Dinkelbach S. The Legacy (Das Vermächtnis): the role of cultural production in the reprocessing of collective experiences that are equivalent to trauma . [Internet] [Thesis]. National University of Ireland – Galway; 2013. [cited 2021 Mar 07]. Available from: http://hdl.handle.net/10379/3752.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Dinkelbach S. The Legacy (Das Vermächtnis): the role of cultural production in the reprocessing of collective experiences that are equivalent to trauma . [Thesis]. National University of Ireland – Galway; 2013. Available from: http://hdl.handle.net/10379/3752

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Vienna

22. Sulek, Nadja. Die Interaktion von Traum- und Traumasequenzen in David Lynchs 'Eraserhead' und 'Mulholland Drive'.

Degree: 2009, University of Vienna

URL: http://othes.univie.ac.at/4080/

► Eine Traumsequenz charakterisiert sich durch ein zentrales Thema bzw. einen Wunsch. Meist stellt Lynch dieses Zentraltopik innerhalb der ersten 15 Minuten der Filmdauer vor. Die… (more)

▼ Eine Traumsequenz charakterisiert sich durch ein zentrales Thema bzw. einen Wunsch. Meist stellt Lynch dieses Zentraltopik innerhalb der ersten 15 Minuten der Filmdauer vor. Die Eröffnungsszene von 'Eraserhead' erzählt über die Bedeutung und Wichtigkeit der "Man in the Planet"-Figur. Er kontrolliert die Traumnarration außerhalb des Bewusstseins des Protagonisten (Henry Spencer). Er fungiert als Sprecher für das Publikum und weiters als Henrys Unterbewusstsein. Der Zuschauer wird dadurch angehalten, den Film als Trauminhalt zu verstehen, welcher nicht aus dem Bewusstsein der Hauptfigur kontrolliert und gesteuert wird. Der zentrale Punkt in dieser Erzählung ist eine wurmähnliche Gestalt, die Henry Spencers Traum dominiert. In Lynchs Werken bedeuten Schlaf und Träume Verneinungen und Unterdrückungen von Trauma und Realität. Traumsequenzen in 'Eraserhead' sind mit unkausalen Szenenhandlungen und unlogischen Weltordnungen verbunden. Zusätzliche Komponenten sind Tableaus und direkte erzählerische Traumreferenzen. Im Gegensatz zu 'Mulholland Drive', ist 'Eraserhead' nicht in zwei Story-Parts unterteilt. 'Mulholland Drives' erster Filmpart (120 Minuten lang) erzählt von einem Traum, der zwar als solcher ausgewiesen wird, trotzdem aber keine typischen Konventionen des Traumfilm-Genres wiedergibt. Das letzte Drittel des Films erzählt von einer sich vom Traum abhebenden Realität, die in ihrem fragmentarischen Stil traumartig wirkt. Der Wunscherfüllungsmoment des ersten Teils birgt die (sexuelle) Zusammenkunft von Betty und der amnestierten Rita. In der zweiten Phase des Spielfilms wird die zerstörerische Beziehungsgeschichte von der B-Schauspielerin Diane Selwyn (zuvor: Betty Elms) mit dem Hollywood-Starlet Camilla Rhodes (zuvor: Rita) erzählt. Traum- und Traumasequenzen sind in diesem Film hauptsächlich durch den Split in zwei Hauptfilmpassagen aufgeteilt: die Interaktion zieht die Grenzen. Trotz des Traumszenarios im ersten Teil wird durch stilistische Mittel und Erzählperspektiven immer wieder auf das "Wachleben" der Protagonistin und das tödliche Ende verwiesen. Der Rezipient wird durch die Methodik in Mulholland Drive dazu angehalten, eine ständige Diskussion und Re-Organisation von Traumcharakteristiken und "realistischen" Elementen vorzunehmen. Obwohl 'Eraserhead' und 'Mulholland Drive' (stilistisch) differenzierte Interaktionen von Traum- und Traumasequenzen aufweisen, schlüpft der Zuschauer in beiden Filmen in die Rollen des Träumers und Psychotherapeuten. Er muss bereits vorgeführte Szenen in seinem Erinnerungsvermögen wieder aufrufen und sich noch nicht gezeigtes Zukunftsmaterial des Films "ausmalen". Der Rezipient kreiert einen eigenen Zeit- und Raumkomplex aus den Filmbildern und löst ein Puzzlespiel, das die Anwendung der eigenen Intuition erfordert. Als Hauptprinzip sind Traumsequenzen in Lynchs Filmen mit Elementen des Traumas bespielt, egal ob sie nur als Vision im Kopf oder im Traumumfeld des Protagonisten verlagert sind. Die Conclusio von Lynchs Traumerzählungen ist das Scheitern der…

Subjects/Keywords: 24.37 Film: Sonstiges; 24.31 Systematische Filmwissenschaft; 24.34 Filmgattungen, Filmsparten; Film / Lynch, David / Filmpsychologie / Filmrezeption / Traum / Trauma / Traumfilm / Trauma-Kino / Psychoanalyse; film / Lynch, David / film psychology / film reception / dream / trauma / dream film / trauma cinema / psychoanalysis

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Sulek, N. (2009). Die Interaktion von Traum- und Traumasequenzen in David Lynchs 'Eraserhead' und 'Mulholland Drive'. (Thesis). University of Vienna. Retrieved from http://othes.univie.ac.at/4080/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Sulek, Nadja. “Die Interaktion von Traum- und Traumasequenzen in David Lynchs 'Eraserhead' und 'Mulholland Drive'.” 2009. Thesis, University of Vienna. Accessed March 07, 2021. http://othes.univie.ac.at/4080/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Sulek, Nadja. “Die Interaktion von Traum- und Traumasequenzen in David Lynchs 'Eraserhead' und 'Mulholland Drive'.” 2009. Web. 07 Mar 2021.

Vancouver:

Sulek N. Die Interaktion von Traum- und Traumasequenzen in David Lynchs 'Eraserhead' und 'Mulholland Drive'. [Internet] [Thesis]. University of Vienna; 2009. [cited 2021 Mar 07]. Available from: http://othes.univie.ac.at/4080/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Sulek N. Die Interaktion von Traum- und Traumasequenzen in David Lynchs 'Eraserhead' und 'Mulholland Drive'. [Thesis]. University of Vienna; 2009. Available from: http://othes.univie.ac.at/4080/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

23. Furuiti, Edna. A imagem fundamental e o traumático: possibilidades de sentidos em \"Festa de Família\" e na Trilogia Coração de Ouro, de Lars von Trier.

Degree: Mestrado, Comunicação e Estética do Audivisual, 2003, University of São Paulo

URL: http://www.teses.usp.br/teses/disponiveis/27/27149/tde-08112011-150600/ ;

►

Esta pesquisa associa a enunciação fílmica ao âmbito do traumático e da repetição, procedimento que produz variações que constituem uma imagem fundamental. Esta imagem não… (more)

Subjects/Keywords: Carl-Theodor Dreyer; Carl-Theodor Dreyer; cinema dinamarquês; Danish cinema; Dogma 95; Dogma 95; Hear of Gold Trilogy; Lars von Trier; Lars von Trier; Thomas Vinterberg; Thomas Vinterberg; Trauma; Trauma; Traumatic; Traumático; Trilogia Coração de Ouro

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APA (6^th Edition):

Furuiti, E. (2003). A imagem fundamental e o traumático: possibilidades de sentidos em \"Festa de Família\" e na Trilogia Coração de Ouro, de Lars von Trier. (Masters Thesis). University of São Paulo. Retrieved from http://www.teses.usp.br/teses/disponiveis/27/27149/tde-08112011-150600/ ;

Chicago Manual of Style (16^th Edition):

Furuiti, Edna. “A imagem fundamental e o traumático: possibilidades de sentidos em \"Festa de Família\" e na Trilogia Coração de Ouro, de Lars von Trier.” 2003. Masters Thesis, University of São Paulo. Accessed March 07, 2021. http://www.teses.usp.br/teses/disponiveis/27/27149/tde-08112011-150600/ ;.

MLA Handbook (7^th Edition):

Furuiti, Edna. “A imagem fundamental e o traumático: possibilidades de sentidos em \"Festa de Família\" e na Trilogia Coração de Ouro, de Lars von Trier.” 2003. Web. 07 Mar 2021.

Vancouver:

Furuiti E. A imagem fundamental e o traumático: possibilidades de sentidos em \"Festa de Família\" e na Trilogia Coração de Ouro, de Lars von Trier. [Internet] [Masters thesis]. University of São Paulo; 2003. [cited 2021 Mar 07]. Available from: http://www.teses.usp.br/teses/disponiveis/27/27149/tde-08112011-150600/ ;.

Council of Science Editors:

Furuiti E. A imagem fundamental e o traumático: possibilidades de sentidos em \"Festa de Família\" e na Trilogia Coração de Ouro, de Lars von Trier. [Masters Thesis]. University of São Paulo; 2003. Available from: http://www.teses.usp.br/teses/disponiveis/27/27149/tde-08112011-150600/ ;

University of Lethbridge

24. University of Lethbridge. Faculty of Arts and Science. Transformative filmmaking in resettlement : refugees addressing acculturation gaps, concordance, and cohesion in Canada .

Degree: 2016, University of Lethbridge

URL: http://hdl.handle.net/10133/4494

► This research looks at the potential of community film-making as an acculturation resource for use by resettling refugees. It explores the questions: How does participatory… (more)

Subjects/Keywords: migration; Acculturation; Integration; acculturation gaps; acculturative family distancing (AFD); diversity; community cohesion; social capital; visual ethnography; Participatory Action Research; Community Filmmaking for Acculturation Purposes (CFAP); community cinema; indigenous cinema; cultural trauma; culture shock; community development; intercultural relations; cross-cultural relations; social investment; social cohesion; sociology of migration; sociology of media and migration; refugee integration; refugee resettlement; Acculturation Concordance; refugee; settlement services; multiculturalism

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APA (6^th Edition):

Science, U. o. L. F. o. A. a. (2016). Transformative filmmaking in resettlement : refugees addressing acculturation gaps, concordance, and cohesion in Canada . (Thesis). University of Lethbridge. Retrieved from http://hdl.handle.net/10133/4494

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Science, University of Lethbridge. Faculty of Arts and. “Transformative filmmaking in resettlement : refugees addressing acculturation gaps, concordance, and cohesion in Canada .” 2016. Thesis, University of Lethbridge. Accessed March 07, 2021. http://hdl.handle.net/10133/4494.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Science, University of Lethbridge. Faculty of Arts and. “Transformative filmmaking in resettlement : refugees addressing acculturation gaps, concordance, and cohesion in Canada .” 2016. Web. 07 Mar 2021.

Vancouver:

Science UoLFoAa. Transformative filmmaking in resettlement : refugees addressing acculturation gaps, concordance, and cohesion in Canada . [Internet] [Thesis]. University of Lethbridge; 2016. [cited 2021 Mar 07]. Available from: http://hdl.handle.net/10133/4494.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Science UoLFoAa. Transformative filmmaking in resettlement : refugees addressing acculturation gaps, concordance, and cohesion in Canada . [Thesis]. University of Lethbridge; 2016. Available from: http://hdl.handle.net/10133/4494

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Michigan

25. Colleoni, Federica. Political Violence and National Identity: Trauma, Spectrality and Allegory in Contemporary Italian Film and Literature.

Degree: PhD, Romance Languages & Literatures: Italian, 2010, University of Michigan

URL: http://hdl.handle.net/2027.42/78833

► My dissertation investigates how the traumatic phenomenon of political violence in Italy has been narrated in novels and represented in films. My aim is to… (more)

▼ My dissertation investigates how the traumatic phenomenon of political violence in Italy has been narrated in novels and represented in films. My aim is to show that a tension persists between the need for a unitary memory and the impossibility of reconciling positions perceived as opposite and problematic collective memory. My analysis draws on the notions of spectrality, elaborated by Derrida; trauma, defined by Freud, Caruth and E. Ann Kaplan; and allegory. In Chapter 1, I analyze films by Pontecorvo, Taviani, Orsini, and Montaldo, to show how they displace the trauma of political violence both temporally/historically and spatially/geographically, providing a reflection on the relation between violence, power and state formation. Chapter 2 investigates how some characters and situations depicted in novels by Ginzburg, Balestrini, and Sciascia can be read as allegories of the Italian body politic dealing with conflicting discourses on political violence. In Chapter 3, I focus on the representation of the trauma of political violence in films by Amelio, Giordana, Calopresti, and Bellocchio, and on novels by Villalta, Colotti, Tavassi la Greca, and D’Aloja. Their works deal with the effort of Italian society to forgive and incorporate in its body politics both former terrorists and their narrations. In Chapter 4, I demonstrate how the specter of political violence is still haunting contemporary Italy by analyzing the noir genre, both in its literary and cinematic versions. I examine novels by Carlotto, De Cataldo e Montanari, and films by Soavi and Placido. Here in particular I follow Deleuze’s idea of cinema concluding that the noir genre is apt to produce a substitute historical experience through its “affective” powers on the audience. My study shows how during the last forty years Italian cinema shifted from an ideological/political narrative to an intimate account, and then to a genre representation. Political violence has traumatically affected not only family and gender relationships but also national identity narrated in fictional writings. If trauma produces new subjects, then the new Italian subject appears to be constructed by a tension between refusal and inclusion of the specter of political violence in discourses of identity and nation/state formation. Advisors/Committee Members: Binetti, Vincenzo A. (committee member), Capek-Habekovic, Romana (committee member), Clej, Alina M. (committee member), Past, Elena M. (committee member).

Subjects/Keywords: Violenza Politica; Spettralita'; Trauma; Allegoria; Letteratura Italiana; Cinema Italiano; Romance Languages and Literature; Humanities

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APA (6^th Edition):

Colleoni, F. (2010). Political Violence and National Identity: Trauma, Spectrality and Allegory in Contemporary Italian Film and Literature. (Doctoral Dissertation). University of Michigan. Retrieved from http://hdl.handle.net/2027.42/78833

Chicago Manual of Style (16^th Edition):

Colleoni, Federica. “Political Violence and National Identity: Trauma, Spectrality and Allegory in Contemporary Italian Film and Literature.” 2010. Doctoral Dissertation, University of Michigan. Accessed March 07, 2021. http://hdl.handle.net/2027.42/78833.

MLA Handbook (7^th Edition):

Colleoni, Federica. “Political Violence and National Identity: Trauma, Spectrality and Allegory in Contemporary Italian Film and Literature.” 2010. Web. 07 Mar 2021.

Vancouver:

Colleoni F. Political Violence and National Identity: Trauma, Spectrality and Allegory in Contemporary Italian Film and Literature. [Internet] [Doctoral dissertation]. University of Michigan; 2010. [cited 2021 Mar 07]. Available from: http://hdl.handle.net/2027.42/78833.

Council of Science Editors:

Colleoni F. Political Violence and National Identity: Trauma, Spectrality and Allegory in Contemporary Italian Film and Literature. [Doctoral Dissertation]. University of Michigan; 2010. Available from: http://hdl.handle.net/2027.42/78833

Université de Montréal

26. Babin, Stéphanie. L'enfant au cinéma : la condition tragique d'une figure traumatique.

Degree: 2016, Université de Montréal

URL: http://hdl.handle.net/1866/13723

Subjects/Keywords: Cinéma; Enfant; Tragique; Trauma; Figure; Child; Tragic; Image; Communications and the Arts - Cinema / Communications et les arts - Cinéma (UMI : 0900)

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APA (6^th Edition):

Babin, S. (2016). L'enfant au cinéma : la condition tragique d'une figure traumatique. (Thesis). Université de Montréal. Retrieved from http://hdl.handle.net/1866/13723

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Babin, Stéphanie. “L'enfant au cinéma : la condition tragique d'une figure traumatique.” 2016. Thesis, Université de Montréal. Accessed March 07, 2021. http://hdl.handle.net/1866/13723.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Babin, Stéphanie. “L'enfant au cinéma : la condition tragique d'une figure traumatique.” 2016. Web. 07 Mar 2021.

Vancouver:

Babin S. L'enfant au cinéma : la condition tragique d'une figure traumatique. [Internet] [Thesis]. Université de Montréal; 2016. [cited 2021 Mar 07]. Available from: http://hdl.handle.net/1866/13723.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Babin S. L'enfant au cinéma : la condition tragique d'une figure traumatique. [Thesis]. Université de Montréal; 2016. Available from: http://hdl.handle.net/1866/13723

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

27. Kang, Kai. Beyond New Waves: Gender and Sexuality in Sinophone Women's Cinema from the 1980s to the 2000s.

Degree: Comparative Literature, 2015, University of California – Riverside

URL: http://www.escholarship.org/uc/item/4h13x81f

► My dissertation bridges Chinese film studies, Sinophone studies, transnational feminism, and gender and sexuality studies through a comparative study of women's cinema in post-1976 China,… (more)

Subjects/Keywords: Comparative literature; Gender studies; Gender and Sexuality Studies; Sinophone Women's Cinema; Trauma Studies

…and the rules of international cinema. Chapter Four ―Spider Lilies: Tattoo My Trauma, Tattoo… …Breaching the Law of the Father 78 Chapter Four Spider Lilies: Tattoo My Trauma, Tattoo My… …sexualities in Sinophone Women‘s cinema from the 1980s to the 2000s reflects my personal… …intellectual endeavor to bridge the areas of Sinophone studies, Chinese cinema studies, gender and… …sexuality studies, and trauma studies. Growing up in post-Mao China, I have witnessed the changing…

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APA (6^th Edition):

Kang, K. (2015). Beyond New Waves: Gender and Sexuality in Sinophone Women's Cinema from the 1980s to the 2000s. (Thesis). University of California – Riverside. Retrieved from http://www.escholarship.org/uc/item/4h13x81f

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Kang, Kai. “Beyond New Waves: Gender and Sexuality in Sinophone Women's Cinema from the 1980s to the 2000s.” 2015. Thesis, University of California – Riverside. Accessed March 07, 2021. http://www.escholarship.org/uc/item/4h13x81f.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Kang, Kai. “Beyond New Waves: Gender and Sexuality in Sinophone Women's Cinema from the 1980s to the 2000s.” 2015. Web. 07 Mar 2021.

Vancouver:

Kang K. Beyond New Waves: Gender and Sexuality in Sinophone Women's Cinema from the 1980s to the 2000s. [Internet] [Thesis]. University of California – Riverside; 2015. [cited 2021 Mar 07]. Available from: http://www.escholarship.org/uc/item/4h13x81f.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Kang K. Beyond New Waves: Gender and Sexuality in Sinophone Women's Cinema from the 1980s to the 2000s. [Thesis]. University of California – Riverside; 2015. Available from: http://www.escholarship.org/uc/item/4h13x81f

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

28. Barnes, Christopher. Mediating Terror: Filmic Responses to September 11th, 2001, and the "War on Terror".

Degree: MA, English/Literature, 2012, Bowling Green State University

URL: http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1341932373

► This thesis applies both postcolonial and trauma theory to explore filmic responses to September 11th and the “War on Terror.” I examine the Hollywood films… (more)

Subjects/Keywords: Film Studies; POSTCOLONIALISM; 9/11; SEPTEMBER 11TH; TERRORISM AND CINEMA; TRAUMA STUDIES; FILM STUDIES

…stylistically conservative form of ‘dominant cinema �� according to Robert Stam and Ella Shohat… …of postcolonial theory and trauma theory – a combination which I believe offers an… …Trade Center (Oliver Stone, 2006) to establish how dominant Western cinema… …mediation of postcolonial and trauma theory discourses, I formulate my theoretical approach to… …for both critiquing Eurocentric terrorism discourses and also understanding how the trauma…

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APA (6^th Edition):

Barnes, C. (2012). Mediating Terror: Filmic Responses to September 11th, 2001, and the "War on Terror". (Masters Thesis). Bowling Green State University. Retrieved from http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1341932373

Chicago Manual of Style (16^th Edition):

Barnes, Christopher. “Mediating Terror: Filmic Responses to September 11th, 2001, and the "War on Terror".” 2012. Masters Thesis, Bowling Green State University. Accessed March 07, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1341932373.

MLA Handbook (7^th Edition):

Barnes, Christopher. “Mediating Terror: Filmic Responses to September 11th, 2001, and the "War on Terror".” 2012. Web. 07 Mar 2021.

Vancouver:

Barnes C. Mediating Terror: Filmic Responses to September 11th, 2001, and the "War on Terror". [Internet] [Masters thesis]. Bowling Green State University; 2012. [cited 2021 Mar 07]. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1341932373.

Council of Science Editors:

Barnes C. Mediating Terror: Filmic Responses to September 11th, 2001, and the "War on Terror". [Masters Thesis]. Bowling Green State University; 2012. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1341932373

29. Minguez-Cunningham, Caroline. Évolution des droits de l'homme aux États-Unis : étude des notions d'esclavagisme et de traumatisme culturel et du mouvement abolitionniste à travers trois représentations cinématographiques : the Birth of a Nation, de D. W. Griffith, (1915), Amistad, de Steven Spielberg, (1997) et The Help de Tate Taylor,(2011) : Civil rights evolutions in the United States : a study of the notions of slavery, cultural trauma and the abolitionist movement through three film representations : the Birth of a Nation (D. W. Griffith, 1915), Amistad (S. Spielberg, 1997) and The Help (T. Taylor, 2011).

Degree: Docteur es, Etudes transculturelles, 2015, Université Jean Moulin – Lyon III

URL: http://www.theses.fr/2015LYO30014

► La thématique de l’esclavage aux États-Unis nous a toujours interpellés, interrogés et nous a toujours donné envie d’en savoir plus et de comprendre comment un… (more)

▼ La thématique de l’esclavage aux États-Unis nous a toujours interpellés, interrogés et nous a toujours donné envie d’en savoir plus et de comprendre comment un tel système a pu perdurer pendant plus de deux cents ans, provoquer la division profonde d’une nation et une guerre civile pour finalement laisser des traces et des marques indélébiles sur les États-Unis. Cet intérêt nous a poussés à nous intéresser tout d’abord à la notion du traumatisme culturel de l’esclavage, puis, à sa représentation cinématographique dans le cinéma américain par trois cinéastes américains (D. W. Griffith, né en 1875 dans le Kentucky, Steven Spielberg, né en 1946 dans l’Ohio et Tate Taylor né en 1969 dans le Mississippi), qui traitent de trois périodes historiques différentes à des époques distinctes. Nous nous sommes alors posé la question du lien qu’il existe entre la réalité physique, vécue, d’un événement et sa représentation cinématographique qui est forcément distanciée, temporellement et/ou spatialement. Comment les réalisateurs peuvent-ils représenter fidèlement la réalité historique ? Comment évitent-ils (ou non) d’insérer des « filtres », qu’ils soient personnels ou sociologiques, et, comment ne pas transformer l’histoire, la modeler, en occultant par exemple les éléments qui n’abondent pas dans le sens du message que l’on souhaite véhiculer ? Dans l’hypothèse où le réalisateur est de parti-pris, comment le spectateur peut-il en avoir conscience au moment où il regarde le film ? Ce travail est donc né d’une réflexion sur l’importance culturelle et civilisationnelle de la notion de traumatisme culturel dans la représentation cinématographique de l’esclavage aux États-Unis. Les trois films que nous avons choisis pour notre corpus sont The Birth of a Nation de D.W. Griffith (1915), Amistad de Steven Spielberg (1997) et The Help, de Tate Taylor (2011). Ces films représentent trois époques distinctes de la vie et de la société américaine puisque The Birth of a Nation raconte le déroulement de la Guerre de Sécession en se plaçant dans la vie d’une famille sudiste. Amistad prend pour contexte les années 1839 à 1841 et The Help se déroule à Jackson, dans le Mississippi des années 60.En choisissant des films qui représentent des époques historiques distinctes mais qui ont également été réalisés à des périodes différentes les unes des autres, nous avons souhaité prendre en compte cette question de la réadaptation et de la réinterprétation de l’événement traumatique.Nous avons souhaité montrer, à travers notre travail, comment les cinéastes adaptent un fait réel ou un ouvrage littéraire, en supprimant certains éléments ou en rajoutant, en adaptant la réalité historique pour en faire une fiction qui cherche à montrer une représentation du réel. Nous avons aussi et surtout démontré comment la notion de « traumatisme culturel » influence le travail des cinéastes qui se sont penchés sur l'héritage culturel qu'est l'esclavage. Nous avons souhaité voir dans quelle mesure cette notion de traumatisme culturel influe sur la création artistique… Advisors/Committee Members: Deutsch, Richard (thesis director).

Subjects/Keywords: Esclavage; Cinéma; Traumatisme culturel; Représentation cinématographique; Abolition; Mouvement abolitionniste; Films; Steven Spielberg; Tate Taylor; D. W. Griffith; Amistad; The Help; The Birth of a Nation; Ron Eyerman; Droits civiques; Slavery; Cinema; Cultural trauma; Cinematographic representation; Abolition; Abolitionist movement; Films; Steven Spielberg; Tate Taylor; D. W. Griffith; Amistad; The Help; The Birth of a Nation; Ron Eyerman; Civil rights; 970; 790; 300

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APA (6^th Edition):

Minguez-Cunningham, C. (2015). Évolution des droits de l'homme aux États-Unis : étude des notions d'esclavagisme et de traumatisme culturel et du mouvement abolitionniste à travers trois représentations cinématographiques : the Birth of a Nation, de D. W. Griffith, (1915), Amistad, de Steven Spielberg, (1997) et The Help de Tate Taylor,(2011) : Civil rights evolutions in the United States : a study of the notions of slavery, cultural trauma and the abolitionist movement through three film representations : the Birth of a Nation (D. W. Griffith, 1915), Amistad (S. Spielberg, 1997) and The Help (T. Taylor, 2011). (Doctoral Dissertation). Université Jean Moulin – Lyon III. Retrieved from http://www.theses.fr/2015LYO30014

Chicago Manual of Style (16^th Edition):

Minguez-Cunningham, Caroline. “Évolution des droits de l'homme aux États-Unis : étude des notions d'esclavagisme et de traumatisme culturel et du mouvement abolitionniste à travers trois représentations cinématographiques : the Birth of a Nation, de D. W. Griffith, (1915), Amistad, de Steven Spielberg, (1997) et The Help de Tate Taylor,(2011) : Civil rights evolutions in the United States : a study of the notions of slavery, cultural trauma and the abolitionist movement through three film representations : the Birth of a Nation (D. W. Griffith, 1915), Amistad (S. Spielberg, 1997) and The Help (T. Taylor, 2011).” 2015. Doctoral Dissertation, Université Jean Moulin – Lyon III. Accessed March 07, 2021. http://www.theses.fr/2015LYO30014.

MLA Handbook (7^th Edition):

Minguez-Cunningham, Caroline. “Évolution des droits de l'homme aux États-Unis : étude des notions d'esclavagisme et de traumatisme culturel et du mouvement abolitionniste à travers trois représentations cinématographiques : the Birth of a Nation, de D. W. Griffith, (1915), Amistad, de Steven Spielberg, (1997) et The Help de Tate Taylor,(2011) : Civil rights evolutions in the United States : a study of the notions of slavery, cultural trauma and the abolitionist movement through three film representations : the Birth of a Nation (D. W. Griffith, 1915), Amistad (S. Spielberg, 1997) and The Help (T. Taylor, 2011).” 2015. Web. 07 Mar 2021.

Vancouver:

Minguez-Cunningham C. Évolution des droits de l'homme aux États-Unis : étude des notions d'esclavagisme et de traumatisme culturel et du mouvement abolitionniste à travers trois représentations cinématographiques : the Birth of a Nation, de D. W. Griffith, (1915), Amistad, de Steven Spielberg, (1997) et The Help de Tate Taylor,(2011) : Civil rights evolutions in the United States : a study of the notions of slavery, cultural trauma and the abolitionist movement through three film representations : the Birth of a Nation (D. W. Griffith, 1915), Amistad (S. Spielberg, 1997) and The Help (T. Taylor, 2011). [Internet] [Doctoral dissertation]. Université Jean Moulin – Lyon III; 2015. [cited 2021 Mar 07]. Available from: http://www.theses.fr/2015LYO30014.

Council of Science Editors:

Minguez-Cunningham C. Évolution des droits de l'homme aux États-Unis : étude des notions d'esclavagisme et de traumatisme culturel et du mouvement abolitionniste à travers trois représentations cinématographiques : the Birth of a Nation, de D. W. Griffith, (1915), Amistad, de Steven Spielberg, (1997) et The Help de Tate Taylor,(2011) : Civil rights evolutions in the United States : a study of the notions of slavery, cultural trauma and the abolitionist movement through three film representations : the Birth of a Nation (D. W. Griffith, 1915), Amistad (S. Spielberg, 1997) and The Help (T. Taylor, 2011). [Doctoral Dissertation]. Université Jean Moulin – Lyon III; 2015. Available from: http://www.theses.fr/2015LYO30014

30. Levi, Dejan. Negotiating Tropes of Madness: Trauma and Identity in Post-Yugoslav Cinemas.

Degree: 2014, University of Manchester

URL: http://www.manchester.ac.uk/escholar/uk-ac-man-scw:219752

► This thesis examines how madness has been used in post-Yugoslav cinemas to facilitate thinking about experiences of the break-up of the SFRY throughout the 1990s… (more)

▼ This thesis examines how madness has been used in post-Yugoslav cinemas to facilitate thinking about experiences of the break-up of the SFRY throughout the 1990s and 2000s, its consequences and implications for the future. The study conceptualises post-Yugoslav film cultures as public spheres in which artistic and industrial practices are often combined to create meaning around the core themes of trauma and identity in post-Yugoslav cultures. Working with seven feature-length titles from a range of post-Yugoslav successor states (Croatia, Bosnia and Herzegovina, Serbia, Macedonia and Kosovo) I illustrate how images of madness have been essential in the cultural processing of events of the 1990s. Whilst featuring individuals suffering mental instabilities and disturbances, and sometimes asylums or mental health institutions, I contend such films are not ultimately concerned – on a thematic level – with mental health, but instead focus on the use of such characters in a metaphoric capacity for engaging core themes of Yugoslav break-up, conflicts, and difficulties of subsequent transition. Using the semantic/syntactic approach to genre, I identify two common ways in which madness is used on a textual level to engage these core themes. The first of these, the ‘inside-out asylum trope of madness’, is concerned with the use of the asylum in films which assess critically the dominant political ideologies of the successor states in question at a time when political pluralism was not yet established by the transition process. Films discussed include Burlesque Tragedy (Marković, 1995), Marshall Tito’s Spirit (Brešan, 1999), and Kukumi (Qosja, 2005). The second trope is the ‘multiple realities trope of madness’ in which the presentation of diegetic reality on screen is adapted to reflect various conceptualisations of trauma and loss arising from Yugoslav break-up and transition. Here the films include Loving Glances (Karanović, 2003), Fuse (Žalica, 2003), Mirage (Ristovski, 2004) and Land of Truth, Love and Freedom (Petrović, 2000). Across the films selected, it is madness which ultimately provides a diverse pool of metaphors and images for an assessment of Yugoslavia’s traumatic demise and the ensuing process of picking through the debris of its ideology, cultural practices, values and ways of living for precisely what might be salvageable and what should be discarded. Advisors/Committee Members: ANGUSHEVA-TIHANOV, ADELINA AG, Hutchings, Stephen, Angusheva-Tihanov, Adelina.

Subjects/Keywords: Film studies; post-Yugoslav cinema; Madness; Trauma; Yugoslavia; Identity; Serbia; Montenegro; Croatia; Kosovo; Bosnia and Herzegovina; Macedonia; Slovenia

…special interest in the cinema of former Yugoslavia and its successor states. My academic… …genre cinema in the post-Milošević years. It was at this time that I became interested in… …worked as an NCTJ-qualified journalist. 9 Chapter 1: Introducing tropes of madness: trauma… …arts. Cinema too, even from its early roots, abounds with evidence that it would become the… …art form with the greatest attachment to madness. The early silent cinema classic, The…

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APA (6^th Edition):

Levi, D. (2014). Negotiating Tropes of Madness: Trauma and Identity in Post-Yugoslav Cinemas. (Doctoral Dissertation). University of Manchester. Retrieved from http://www.manchester.ac.uk/escholar/uk-ac-man-scw:219752

Chicago Manual of Style (16^th Edition):

Levi, Dejan. “Negotiating Tropes of Madness: Trauma and Identity in Post-Yugoslav Cinemas.” 2014. Doctoral Dissertation, University of Manchester. Accessed March 07, 2021. http://www.manchester.ac.uk/escholar/uk-ac-man-scw:219752.

MLA Handbook (7^th Edition):

Levi, Dejan. “Negotiating Tropes of Madness: Trauma and Identity in Post-Yugoslav Cinemas.” 2014. Web. 07 Mar 2021.

Vancouver:

Levi D. Negotiating Tropes of Madness: Trauma and Identity in Post-Yugoslav Cinemas. [Internet] [Doctoral dissertation]. University of Manchester; 2014. [cited 2021 Mar 07]. Available from: http://www.manchester.ac.uk/escholar/uk-ac-man-scw:219752.

Council of Science Editors:

Levi D. Negotiating Tropes of Madness: Trauma and Identity in Post-Yugoslav Cinemas. [Doctoral Dissertation]. University of Manchester; 2014. Available from: http://www.manchester.ac.uk/escholar/uk-ac-man-scw:219752

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