Titlebook: Dislocated Screen Memory; Narrating Trauma in Dijana Jelača Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Post-Yugoslav c

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书目名称Dislocated Screen Memory影响因子(影响力)




书目名称Dislocated Screen Memory影响因子(影响力)学科排名




书目名称Dislocated Screen Memory网络公开度




书目名称Dislocated Screen Memory网络公开度学科排名




书目名称Dislocated Screen Memory被引频次




书目名称Dislocated Screen Memory被引频次学科排名




书目名称Dislocated Screen Memory年度引用




书目名称Dislocated Screen Memory年度引用学科排名




书目名称Dislocated Screen Memory读者反馈




书目名称Dislocated Screen Memory读者反馈学科排名

cyanosis

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Unsettling Empathies: Screen, Gender, and Traumatic Memory,same woman, Lushe, offers a more detailed, voluntary testimonial of her trauma, this time to her husband. Yet, as she gives an account of the events that led to her rape, she is again offscreen, as the camera rests on her husband’s pained face instead. Her husband had just returned from captivity an

laxative

Happily Sick: Trauma, Nation, and Queer Affect,triarchal, heteronormative rule to nationalist tendencies. Yet, what remained out of reach in such frameworks is a consideration of queer desire outside of the binary framework that has to perpetually pit it against heteronormativity in order to position it as visible or readable (Jelača 2012). In t

PET-scan

Post-Yugoslav Heritage Cinema and the Futurity of Nostalgia,o the sense of collective belonging of a community by way of tapping into an imagined, or mythical, past. The construction of such past is often premised on a sense of common ethnic or national belonging, and more than representing a detached form of inorganic, prosthetic memory that is not a part o

Indicative

Youth (Sub)Cultures and the Habitus of Postmemory,linity in Serbia at the time, when tough-guy criminals and their turbo folk girlfriends were celebrated as exemplary performances of the ideal national coupling (a reiteration of ethno-nationalist ideology in the form of what here might be appropriately called “turbo-patriarchy”). As Bjelić has argu

Indicative

Sinus-Rhythm

Teaching, Occupational and Further Education memory is an always already lost battle. Instead of finite conclusions, there are only fleeting impressions, tendencies, and trajectories than one can detect and try to give temporary coherence to. This, perhaps, might at times be unsatisfying as an analytical exercise for some, but when it comes t

枯萎将要

https://doi.org/10.1007/978-3-658-28797-9y thing that remains long after she herself had disappeared without a trace. The film itself calls attention not only to the inadequacy of the photograph to capture the girl’s story, but also to its necessity. A frame—not only of photography, but also of cinema—functions as a trigger for memory and

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