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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Australian Postcolonial Trauma and Silences in ,,erparts elsewhere in the colonised Pacific. The Indigenous person, Firth said, ‘mutely dies.’ It would take just two hundred years of settler-Indigenous contact—and, within that span, a few intense decades of frontier activity—to decimate the Indigenous people who had been in Australia for forty tho

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,Trauma’s Slow Onslaught: Sound and Silence in Lav Diaz’s ,,long history of colonialism. Depicting the repeated rape and maltreatment of a young woman, Florentina, Diaz attempts to draw a metaphorical picture of colonial oppression, conquest and an aftermath that is still palpable today, a long period which the film-maker describes as a ‘repeated bashing of

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,Flesh and Blood in the Globalised Age: Pablo Trapero’s , (,) and , (,),ys in which, in the globalised age, trauma is perpetuated in cycles of violence and re-traumatisation, in both the public and private spheres, and how this process might be counteracted. Whilst traffic accidents provide the pivotal, shocking events from which both films’ traumatic trajectories evolv

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,Unclaimed Experience and the Implicated Subject in Pablo Larraín’s ,,g a CIA-backed coup on September 11th, 1973: . (2008), . (2010) and . (2012). This chapter focuses on . to propose that the film retrieves for the nation an aspect of traumatic, ‘unclaimed experience’ (Cathy Caruth 1996) on a collective rather than individual level. Drawing on the theories of Michae

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, Telling Tales of Trauma,ko or via the Disney studio portraying childhood loss. . continues the trend, including the link with children, by focussing on the autobiographical observations of the young Marjane Satrapi as she experiences the personal and collective traumas of being an Iranian girl growing up in the wake of the

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