The Horrors of Trauma in Cinema

experiences of 'trauma' and horror, as well as actions of terror and violence? How does the cultural engagement with 'traumata' in horror films affect the question of self-definition and the 'othering' of collective identities?

Author: Michael Elm

Publisher: Cambridge Scholars Publishing

ISBN: 9781443868518

Category: History

Page: 355

View: 371


This volume explores the multifaceted depiction and staging of historical and social traumata as the result of extreme violence within national contexts. It focuses on Israeli-Palestinian, German and (US) American film, and reaches out to cinematic traditions from other countries like France, Great Britain and the former USSR. International and interdisciplinary scholars analyze both mainstream and avant-garde movies and documentaries premiering from the 1960s to the present. From transnational and cross-genre perspectives, they query the modes of representation – regarding narration, dramaturgy, aesthetics, mise-en-scène, iconology, lighting, cinematography, editing and sound – held by film as a medium to visualize shattering experiences of violence and their traumatic encoding in individuals, collectives, bodies and psyches. This anthology uniquely traces horror aesthetics and trajectories as a way to reenact, echo and question the perpetual loops of trauma in film cultures. The contributors examine the discursive transfer between historical traumata necessarily transmitted in a medialized and conceptualized form, the changing landscape of (clinical) trauma theory, the filmic depiction and language of trauma, and the official memory politics and hegemonic national-identity constructions.

The Wounds of Nations

The Wounds of Nations: Horror Cinema, Historical Trauma and National Identity explores the ways in which the unashamedly disturbing conventions of international horror cinema allow audiences to engage with the traumatic legacy of the recent ...

Author: Linnie Blake

Publisher: Manchester University Press

ISBN: 0719075947

Category: Performing Arts

Page: 232

View: 342


The Wounds of Nations: Horror Cinema, Historical Trauma and National Identity explores the ways in which the unashamedly disturbing conventions of international horror cinema allow audiences to engage with the traumatic legacy of the recent past in a manner that has serious implications for the ways in which we conceive of ourselves, both as gendered individuals and as members of a particular nation-state. Exploring a wide range of stylistically distinctive and generically diverse film texts, its analysis ranges from the body horror of the American 1970s to the avant-garde proclivities of German Reunification horror, from the vengeful supernaturalism of recent Japanese chillers and their American remakes to the post-Thatcherite masculinity horror of the UK and the resurgence of "hillbilly" horror in the period following 9/11 USA. In each case, it is argued, horror cinema forces us to look again at the wounds inflicted on individuals, families, communities, and nations by traumatic events such as genocide and war, terrorist outrage, and seismic political change, wounds that are all too often concealed beneath ideologically expedient discourses of national cohesion. Thus proffering a radical critique of the nation-state and the ideologies of identity it promulgates, horror cinema is seen to offer us a disturbing, yet perversely life-affirming, means of working through the traumatic legacy of recent times.

Trauma and Cinema

For example, the Variety review of Onibaba denotes the film's art cinema status in a number of ways, ... Yet the film's iconography of demons, murder, and bodily mutilation align it with the horror genre as well (“The older woman ...

Author: E. Ann Kaplan

Publisher: Hong Kong University Press

ISBN: 9789622096240

Category: Social Science

Page: 298

View: 652


This volume addresses the relation of trauma to transnational modern mass media. The first of its kind, Trauma and Cinema: Cross-Cultural Explorations provides ten essays which explore the ways trauma works itself out as media — in images in (and as) film, photography, and video — in global cultural flows. The focus of our volume on the matrix of trauma, visual media and modernity seeks to engage and go beyond current tendencies in trauma studies. The book discusses how trauma presented in the media spills over national boundaries and can be found in images across divergent cultures in Africa, Asia, Australia, Europe and America. From the Holocaust to the Chinese Cultural Revolution, from Taiwan’s colonial experience to the catastrophe of Hiroshima, from attempted annihilation of Australian Aborigines to attempted reconciliation in South Africa, these essays offer the reader a plethora of images of trauma for comparison and contrast.

Eco Trauma Cinema

Film. Funny Games. Dir. Michael Haneke. Warner, 2007. Film. Gelder, Ken. “Introduction: The Field of Horror.” In The Horror Reader. Ed. Ken Gelder. London: Routledge, 2000. 1–10. Print. Genova. Dir. Michael Winterbottom.

Author: Anil Narine

Publisher: Routledge

ISBN: 9781317649427

Category: Social Science

Page: 258

View: 970


Film has taken a powerful position alongside the global environmental movement, from didactic documentaries to the fantasy pleasures of commercial franchises. This book investigates in particular film’s complex role in representing ecological traumas. Eco-trauma cinema represents the harm we, as humans, inflict upon our natural surroundings, or the injuries we sustain from nature in its unforgiving iterations. The term encompasses both circumstances because these seemingly distinct instances of ecological harm are often related, and even symbiotic: the traumas we perpetuate in an ecosystem through pollution and unsustainable resource management inevitably return to harm us. Contributors to this volume engage with eco-trauma cinema in its three general forms: accounts of people who are traumatized by the natural world, narratives that represent people or social processes which traumatize the environment or its species, and stories that depict the aftermath of ecological catastrophe. The films they examine represent a central challenge of our age: to overcome our disavowal of environmental crises, to reflect on the unsavoury forces reshaping the planet's ecosystems, and to restructure the mechanisms responsible for the state of the earth.

Spanish Horror Film

In Shocking Representation: Historical Trauma, National Cinema and the Modern Horror Film (2005), Adam Lowenstein frames his exploration of the relationship between allegory, history, trauma and the horror film with two questions: 'what ...

Author: Antonio Lazaro-Reboll

Publisher: Edinburgh University Press

ISBN: 9780748636402

Category: Performing Arts

Page: 256

View: 842


Spanish Horror Film is the first in-depth exploration of the genre in Spain from the 'horror boom' of the late 1960s and early 1970s to the most recent production in the current renaissance of Spanish genre cinema, through a study of its production, circulation, regulation and consumption. The examination of this rich cinematic tradition is firmly located in relation to broader historical and cultural shifts in recent Spanish history and as an important part of the European horror film tradition and the global culture of psychotronia.

The Uncanny Child in Transnational Cinema

Thus, the uncanny child of millennial horror first stirs in these art films as an arcane and ominous embodiment of national trauma, of which the deep ramifications for Spanish national identity cannot yet be fully articulated but ...

Author: Jessica Balanzategui

Publisher: Amsterdam University Press

ISBN: 9789048537792

Category: Art


View: 859


This book illustrates how global horror film images of children re-conceptualised childhood at the beginning of the twenty-first century, unravelling the child's long entrenched binding to ideologies of growth, futurity, and progress. The Uncanny Child in Transnational Cinema analyses an influential body of horror films featuring subversive depictions of children that emerged at the beginning of the twenty-first century, and considers the cultural conditions surrounding their emergence. The book proposes that complex cultural and industrial shifts at the turn of the millennium resulted in potent cinematic renegotiations of the concept of childhood. In these transnational films-largely stemming from Spain, Japan, and America-the child resists embodying growth and futurity, concepts to which the child's symbolic function is typically bound. By demonstrating both the culturally specific and globally resonant properties of these frightening visions of children who refuse to grow up, the book outlines the conceptual and aesthetic mechanisms by which long entrenched ideologies of futurity, national progress, and teleological history started to waver at the turn of the twenty-first century.

Historical Dictionary of Horror Cinema

THEMATIC STUDIES OF THE HORROR FILM Abbott, Stacey. ... To See the Saw Movies: Essays on Torture Porn and Post-9/11 Horror. Jefferson, NC: McFarland ... The Wounds of Nations: Horror Cinema, Historical Trauma and National Identity.

Author: Peter Hutchings

Publisher: Rowman & Littlefield

ISBN: 9781538102442

Category: Performing Arts

Page: 446

View: 995


The Historical Dictionary of Horror Cinema traces the development of the genre from its beginnings to the present. This is done through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries.

Transnational Horror Across Visual Media

For example, see Adam Lowenstein, Shocking Representations: Historical Trauma, National Cinema, and the Modern Horror Film (New York: Co- lumbia University Press, 2005), and Linnie Blake, The Wounds of Nation: Horror Cinema, ...

Author: Dana Och

Publisher: Routledge

ISBN: 9781136744846

Category: Social Science

Page: 256

View: 128


This volume investigates the horror genre across national boundaries (including locations such as Africa, Turkey, and post-Soviet Russia) and different media forms, illustrating the ways that horror can be theorized through the circulation, reception, and production of transnational media texts. Perhaps more than any other genre, horror is characterized by its ability to be simultaneously aware of the local while able to permeate national boundaries, to function on both regional and international registers. The essays here explore political models and allegories, questions of cult or subcultural media and their distribution practices, the relationship between regional or cultural networks, and the legibility of international horror iconography across distinct media. The book underscores how a discussion of contemporary international horror is not only about genre but about how genre can inform theories of visual cultures and the increasing permeability of their borders.


I have contended that the allegorical method these horror films employ to engage historical trauma results in a ... is found in those contemporaneous art films that are often more explicit in their references to traumatic historical ...

Author: Jan Plamper

Publisher: University of Pittsburgh Press

ISBN: 9780822978138

Category: History

Page: 248

View: 833


This volume provides a cross-disciplinary examination of fear, that most unruly of our emotions, by offering a broad survey of the psychological, biological, and philosophical basis of fear in historical and contemporary contexts. The contributors, leading figures in clinical psychology, neuroscience, the social sciences, and the humanities, consider categories of intentionality, temporality, admixture, spectacle, and politics in evaluating conceptions of fear. Individual chapters treat manifestations of fear in the mass panic of the stock market crash of 1929, as spectacle in warfare and in horror films, and as a political tool to justify security measures in the wake of terrorist acts. They also describe the biological and evolutionary roots of fear, fear as innate versus learned behavior in both humans and animals, and conceptions of human “passions” and their self-mastery from late antiquity to the early modern era. Additionally, the contributors examine theories of intentional and non-intentional reactivity, the process of fear-memory coding, and contemporary psychology’s emphasis on anxiety disorders. Overall, the authors point to fear as a dense and variable web of responses to external and internal stimuli. Our thinking about these reactions is just as complex. In response, this volume opens a dialogue between science and the humanities to afford a more complete view of an emotion that has shaped human behavior since time immemorial.

Aesthetics Ethics and Trauma in the Cinema of Pedro Almodovar

(Silverman 2015: 193) Agamben's philosophical and political propositions can help us to reflect on how La piel que habito suggests that the horrors of the past and the camp-like structures can be repeated in forms of violence that are ...

Author: Julian Daniel Gutierrez-Albilla

Publisher: Edinburgh University Press

ISBN: 9781474400114

Category: Performing Arts

Page: 221

View: 785


Reconceptualising Almodóvar's films as theoretical and political resources, this innovative book examines a neglected aspect of his cinema: its engagement with the traumatic past, with subjective and collective memory, and with the ethical and political meanings that result from this engagement.