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Titlebook: Scars and Wounds; Film and Legacies of Nick Hodgin,Amit Thakkar Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 trauma.scars

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楼主: 使无罪
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Trauma in Recent Algerian Documentary Cinema: Stories of Civil Conflict Told by the Living Dead,relates to issues of representation and depression, for example Ranjana Khanna’s . (2008) and Anne Cvetkovich’s . (2012). The aim of this chapter is to increase our understanding of the filmic representation of trauma in a post-conflict society and more generally of a culture (Algeria) that is often
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,Elusive Figures: Children’s Trauma and Bosnian War Cinema, to begin with. Such challenges to identity have another significant effect: approaching trauma narratives through childhood allows the films discussed here to invite a kind of spectatorial empathy that crosses the ethno-national boundaries (still) permeating post-war Bosnia. As a result of prevalen
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,Conferring Visibility on Trauma within Rwanda’s National Reconciliation: Kivu Ruhorahoza’s Disturbif victims and perpetrators of violence, and the cultural visibility a post-genocide society is willing to give to a traumatic past within its present reunification process. Breaking with the historical realism that defines cinematic production on the genocide against the Tutsis in Rwanda, Ruhorahoza
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Proximity and Distance: Approaching Trauma in Katrina Films,out racial and class divisions in twenty-first-century America. In contrast to the historical contexts explored by Lee through his close interviews with survivors and commentators, Zack Godshall’s film offers a narrower portrait in his film . (2006), one in which an outsider’s encounters with New Or
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,‘Our Long National Nightmare Is Over’?: The Resolution of Trauma and Male Melodrama in ,,pal struggle between an authoritarian father and an elder brother within a prototypical nuclear family. Trauma in . is at once irrecuperable and the means by which emotional (and thereby political) conflict may be resolved, particularly with recourse to notions of sacrifice, grace and salvation clea
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,Trauma’s Slow Onslaught: Sound and Silence in Lav Diaz’s ,,f abortions; second, a slowness evoked by long-takes and the overall film length, which support the evocation of CTE, a degenerative disease of the brain, which progresses slowly over years and manifests itself predominantly as memory loss and severe headaches; third, there is a juxtaposition of sou
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,Unclaimed Experience and the Implicated Subject in Pablo Larraín’s ,,ional cinema and, more broadly, in the public sphere of national life. Released a year before the exhumation of Allende’s corpse, the film emerged at a time when mystery still shrouded the circumstances of Allende’s death, especially the question of whether he committed suicide or was killed. Deploy
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