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

overbearing

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

limber

,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

保守黨

,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

與野獸博斗者

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

粗糙

,‘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

PLIC

現(xiàn)暈光

異教徒

,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

節(jié)省

engagement

,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