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001358400 0247_ $$a10.1007/978-3-319-41024-1$$2doi
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001358400 049__ $$aISEA
001358400 050_4 $$aHM621-HM656
001358400 08204 $$a301
001358400 1001_ $$aHodgin, Nick.
001358400 24510 $$aScars and Wounds :$$bFilm and Legacies of Trauma.
001358400 260__ $$aCham :$$bSpringer International Publishing,$$c2017.
001358400 300__ $$a1 online resource (307 pages)
001358400 336__ $$atext$$btxt$$2rdacontent
001358400 337__ $$acomputer$$bc$$2rdamedia
001358400 338__ $$aonline resource$$bcr$$2rdacarrier
001358400 347__ $$atext file
001358400 347__ $$bPDF
001358400 500__ $$aPublic Displays of Trauma: Carancho (The Vulture) (2010).
001358400 504__ $$aFilmographyChapter 7: Listening to the Pain of Others: Isabel Coixet's La vida secreta de las palabras (The Secret Life of Words); From Aural Voyeurism and Phonophilia to Listening Otherwise; Hapticity and Scars; Conclusion: Reflections on the Ending; Notes; Works Cited; Filmography; Chapter 8: Australian Postcolonial Trauma and Silences in Samson and Delilah; Trauma Trails and Inheritances; Can Samson Speak?; Silence and Violence; Survival and Destruction; Conclusion: Implicated Belonging; Notes; Works Cited; Filmography.
001358400 5050_ $$aNotes on Contributors; List of Figures; Chapter 1: Introduction: Trauma Studies, Film and the Scar Motif; 'Privileged Traumas': Which Trauma and Why?; The Image and Its Vibrations; The Victim-Perpetrator Continuum and the Implicated Subject; The Scar Motif; Notes; Works Cited; Filmography; Chapter 2: Trauma in Recent Algerian Documentary Cinema: Stories of Civil Conflict Told by the Living Dead; Theory: Cvetkovich, Khanna and Butler; The Algerian Context; Trauma in Recent Documentary Cinema: Sahraoui, Bensmaïl and Djahnine; Conclusion; Notes; Works Cited; Filmography.
001358400 5058_ $$aChapter 3: Elusive Figures: Children's Trauma and Bosnian War CinemaBosnian War, Victimhood, Cinema, and the Siege; Archiving the Pain of Children; Narrative War Cinema and the Child; Ethnicity, Identity, Violence, and the Elusive Child; Conclusion: In Excess of Identity, or, Beyond Politicising a Child's Trauma; Notes; Works Cited; Filmography; Chapter 4: Conferring Visibility on Trauma within Rwanda's National Reconciliation: Kivu Ruhorahoza's Disturbing and Salutary Camera; 'The Making of' ... or the Art of Shooting Back?; 'The Making of a Killer' or the Art of Propaganda.
001358400 5058_ $$a'Making With' or the Art of Surviving'The Unmaking of' or the Art of Resisting the Cycle of Genocide; Notes; Works Cited; Filmography; Chapter 5: Proximity and Distance: Approaching Trauma in Katrina Films; Digging Deep; Against Vanishing; Low and Behold; The Safety of Distance?; Conclusion; Notes; Works Cited; Filmography; Chapter 6: 'Our Long National Nightmare Is Over'?: The Resolution of Trauma and Male Melodrama in The Tree of Life; Freud, Hysteria and the Soldier: Legacies of Trauma; The Tree of Life; Conclusion: Melodrama, Silence and the Cosmological Fix; Notes; Works Cited.
001358400 5058_ $$aChapter 9: Trauma's Slow Onslaught: Sound and Silence in Lav Diaz's Florentina Hubaldo, CTEThe Chronic Trauma of Colonialism; Repetitive Trauma and the Slow Impact; Physical and Mental Trauma; The Viewer as Listener; Post-Traumatic Sound and Sonic Rupture; Conclusion; Notes; Works Cited; Filmography; Chapter 10: Flesh and Blood in the Globalised Age: Pablo Trapero's Nacido y criado (Born and Bred) and Carancho (The Vulture); Trauma and the Symbolic Order: The Argentine Context; Trauma in the Private Sphere: Nacido y criado (Born and Bred) (2006).
001358400 506__ $$aAccess limited to authorized users.
001358400 5208_ $$aAnnotation$$bThis book examines recent cinematic representations of the traumatic legacies of national and international events and processes. Whilst not ignoring European and Hollywood cinema, it includes studies of films about countries which have been less well-represented in cinematic trauma studies, including Australia, Rwanda, Chile and Iran. Each essay establishes national and international contexts that are relevant to the films considered. All essays also deal with form, whether this means the use of specific techniques to represent certain aspects of trauma or challenges to certain genre conventions to make them more adaptable to the traumatic legacies addressed by directors. The editors argue that the healing processes associated with such legacies can helpfully be studied through the idiom of 'scar-formation' rather than event-centred 'wound-creation'.
001358400 588__ $$aDescription based on print version record.
001358400 650_0 $$aPsychic trauma in motion pictures.
001358400 650_0 $$aMotion pictures$$xHistory.
001358400 655_0 $$aElectronic books
001358400 7001_ $$aThakkar, Amit.
001358400 7730_ $$tSpringer eBooks
001358400 77608 $$iPrint version:$$aHodgin, Nick.$$tScars and Wounds : Film and Legacies of Trauma.$$dCham : Springer International Publishing, ©2017$$z9783319410234
001358400 852__ $$bebk
001358400 85640 $$3Springer Nature$$uhttps://univsouthin.idm.oclc.org/login?url=https://link.springer.com/10.1007/978-3-319-41024-1$$zOnline Access$$91397441.1
001358400 909CO $$ooai:library.usi.edu:1358400$$pGLOBAL_SET
001358400 980__ $$aBIB
001358400 980__ $$aEBOOK
001358400 982__ $$aEbook
001358400 983__ $$aOnline
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