Dissertations / Theses on the topic 'Trauma film'
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Dudley, Alexandra, and Amanda Pierson. "Blunt Trauma." Digital Commons at Loyola Marymount University and Loyola Law School, 2018. http://www.kaltura.com/tiny/hm6bw.
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Elliott, Emma M. "Damn Spot: Navigating Emotional Trauma in the Body." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1252.
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I researched the history of emotional trauma and its portrayal in modern media and Shakespearean plays and created a film based on my personal experience with the topic. This film utilizes Shakespearean song and monologue from Hamlet and Macbeth to narrate the inner journey of a girl working through emotional trauma. We follow her as she feels the impact of her trauma in her body and as she tries to hide it from her friends and maintain a normal facade. This film does contain a fictionalized portrayal of an anxiety attack, so viewer discretion is advised. This project does not claim to be a comprehensive and complete narrative for anyone dealing with emotional trauma: it is a deeply personal experience and affects every person differently. I drew inspiration from my own struggles with emotional trauma for this film and the reflection of my experience that I found in these Shakespearean monologues.
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Hillman, Adam. "The Sick Room: A Docudrama - Psychological trauma and film aesthetic." Thesis, Hillman, Adam (2011) The Sick Room: A Docudrama - Psychological trauma and film aesthetic. Honours thesis, Murdoch University, 2011. https://researchrepository.murdoch.edu.au/id/eprint/7382/.
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A screenwriter’s background of experiences and past psychological trauma can be integral to a film’s success if utilised to inform and define the filmmaker’s approach to storytelling. It is identified in this paper that The Sick Room, as a short film text, is constructed in this way. The story evolved from the filmmaker’s difficulties in dealing with a childhood trauma involving the uneasiness he felt about his uncle’s mental illness. By grounding the film’s narrative in his own circumstances the filmmaker seeks to find solutions to new understandings about the stigmatization of victims of mental illness and advocate for an increase in the level of patient care from mental health institutions in contemporary society.
Acknowledging the personal and prejudiced nature of his story the filmmaker endeavours to find an appropriate aesthetic style for The Sick Room to justify his perspective on the issue to the viewer. The filmmaker explores how the docudrama film, due to its correlations with the realist and Dogme95 movements of filmmaking, possesses the appropriate aesthetic qualities required to achieve the telling of his personal story in an entertaining way, but also one that provides the viewer with a more apparently unmediated experience.
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Rombold-Brühl, Felicitas [Verfasser]. "Neuropsychoendocrinological and Psychophysiological Aspects of Trauma Memory : An examination with a trauma film paradigm / Felicitas Rombold-Brühl." Berlin : Freie Universität Berlin, 2018. http://d-nb.info/1156265185/34.
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Sutandio, Anton. "Historical Trauma and the Discourse of Indonesian-ness in Contemporary Indonesian Horror Films." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1395861044.
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Hauser, Brian Russell. "Haunted Detectives: The Mysteries of American Trauma." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1227020699.
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Asadipour, Saeedeh. "5 Broken Cameras: Landscape, Trauma, and Witnessing." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459439752.
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Peck, Rowan. "Detachment Versus Compartmentalisation: Priming and Intrusion Levels after Listening to an Anxiety-Arousing Auditory Report." Thesis, University of Canterbury. Psychology, 2013. http://hdl.handle.net/10092/8850.
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During traumatic events, individuals can experience dissociative symptoms related to changes in cognitively processing; these changes are suggested to impact on the development of posttraumatic stress disorder (PTSD) symptoms. Past literature has proposed two forms of peritraumatic dissociation (compartmentalisation and detachment), however little quantitative research has focussed on separately manipulating these experiences in order to further our understanding of their aetiology. The current study addressed this knowledge gap and additionally sought to understand the role of cognitive processing in the dissociation-intrusion relationship. Using an audio-only adaption of the trauma film paradigm, 60 participants were divided into three conditions and presented with different visual tasks - mirror staring, dot-staring or neutral images – that were hypothesised to induce the two forms of dissociation. Post-audio, a number of factors were assessed, including state dissociation, perceptual priming and conceptual priming, as well as intrusions over the following days. As hypothesised, participants in the dissociation conditions displayed an increase in perceptual priming compared the control conditions, and reported more severe intrusions. However, no differences were found in conceptual priming, in the overall number of intrusions between conditions, or in dissociative symptoms between the dissociation conditions. The current study utilised new techniques in the analysis of PTSD and its origins, and showed their potential in the experimental study of dissociation and analogue trauma techniques. The findings also contributed to the growing body of knowledge investigating the impact that dissociation and cognitive processing has on the aetiology of PTSD.
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Smith, Kira. "Inflicted Viewing: Examining Moral Masochism, Empathy, and the Frustration of Trauma Cinema." Chapman University Digital Commons, 2019. https://digitalcommons.chapman.edu/film_studies_theses/6.
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The contemporary turn of psychoanalytic film analysis has opened a new mode of understanding cinematic language. However, rejecting classical psychoanalysis would be premature. This thesis will place the two in conjunction, specifically through Sigmund Freud’s conceptualization of moral masochism and Wilfred Bion’s theory of thinking. Through four films: Una, The Tale, The Tribe, and Son of Saul I explore the affective nature of films that depict trauma and why one would gravitate towards such upsetting material. The spectator who seeks to be frustrated is not looking to harm oneself but to process this frustration in order to expand their emotional experience.
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Butler, Christopher. "Spectatorial Shock and Carnal Consumption: (Re)envisaging Historical Trauma in New French Extremity." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4648.
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New French Extremity films are violent, transgressive, and break many social taboos in their narratives. However, this genre's directors are intelligent and construct these films with clues to France's past and how it still has implications in the present. This thesis was written to point out how New French Extremity films offer spectators the potential to reincorporate traumatic moments in French history by juxtaposing them against present day social, political, and economic ideologies. The purpose for this course of study was to investigate historical encounters that are present in New French Extremity filmmaking, something that has yet to be addressed by other scholars in any great detail. The general approach taken was to use Walter Benjamin's theory of allegory to secure connections between the past and present and illustrate how they could be interpreted by the film's spectators. The outcome of this research indicates how a spectator can potentially change his or her relationship with history and work towards reassessing his or her relationship with the present under certain social, political, or economic structures.
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Mulliken, Douglas. "Adapting Mozambique : representations of violence and trauma in Mozambican cinema and literature." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/13986.
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This dissertation examines the ways in which violence and trauma are represented in two novels - LÃdia Jorge’s A Costa dos Murmúrios (1988) and Mia Couto’s Terra Sonâmbula (1992) - and the cinematic adaptations of those novels - Margarida Cardoso’s A Costa dos Murmúrios (2004) and Teresa Prata’s Terra Sonâmbula (2007). All four works take place in Mozambique and actively engage with the two primary conflicts that occurred in that country - the Mozambican War of Independence (also known as the Anti-Colonial War), fought between 1964 and 1974, and the Mozambican Civil War, fought between 1977 and 1992. In order to provide suitable context for the textual and theoretical analysis found in the body of the dissertation, the study begins by providing a brief review of the history of cinema in Mozambique, focussing primarily on the period stretching from the start of the Anti-Colonial War in 1964 to the present day. It also examines the concept of national cinema, and whether such an idea is justifiable in a Mozambican context. The study continues by considering, in Chapter 2, the concept of adaptation and its limits. This chapter also provides an historical background for some of the atrocities committed during the Mozambican Civil War. Chapter 3 consists of close textual analysis of the two versions of A Costa dos Murmúrios. The chapter identifies two main themes running through both works - the question of subjectivity and a postmodern presentation of history, and the tense, erotic relationship that exists between the two main female protagonists of the narrative, both of whom end up the victims of severe trauma. Chapter 4 looks at the literary and cinematic incarnations of Terra Sonâmbula, with special attention paid to the function of magical realism in both works. This chapter argues that Couto uses magical realism as a sort of coping mechanism which allows his characters to remain hopeful, while the relative absence of magical realism in Prata’s film results in an entirely different representation of both the Mozambican Civil War and the experience of those who lived through it. This work concludes by arguing against too essentialist an understanding of how we define and categorise works of art, regardless of medium. Finally, it calls for further English-language scholarship in the field of Lusophone African cinema.
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Segall, Hayley Dawn. "1984 and Film: Trauma and the Evolution of the Punjabi Sikh Identity." Oberlin College Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1589802152696357.
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Botha, R. "Demonstrating the cervicothoratic junction on film : an alternative to the swimmers." Interim : Interdisciplinary Journal, Vol 5, Issue 1: Bloemfontein : Central University of Technology, Free State, 2006. http://hdl.handle.net/11462/412.
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Published ArticleThis study was conducted to ascertain which of two techniques would result in more diagnostic films of patients with possible neck trauma. Twenty individuals were examined at the Radiology Department, Universitas hospital, Bloemfontein. Two exposures were done on each member of the sample: firstly the swimmers projection and secondly the orientation of the patient's arms was reversed. Using specific criteria to standardize evaluation, the films were evaluated by a radiologist. The adapted swimmers projection had better results in 50% of the categories. The swimmers projection was better in 33.3% of the categories. One category for both projections (16.7%) was equal.
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Szegvari, Nora. "Collecting Stardust: Matter, Memory, and Trauma in Patricio Guzman's Nostalgia for the Light." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4589.
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This work situates Patricio Guzmàn's Nostalgia for the Light in the broader field of essay documentary film and unveils it as a locus of discursive resistance and the generative crux of diverse conventionally isolated academic dialogues. In doing so, it addresses the challenging and controversial questions of historical meaning-making, remembrance and oblivion, melancholia and mourning. My thesis also endeavors to detect the dynamic and anxiety-inducing threshold between singularity and collectivity, and the human and the cosmic. I lay the historically unprecedented common ground for trauma theory and the essayistic comportment and argue that bearing the clash of time planes, paradoxicality, ambiguity, and aporias at its heart, the essayistic endeavor simulates the ontology of trauma itself. In my theorization, both operate via the originary metaphorical overleaping of matter between physical and metaphysical spheres, conscious and unconscious themes. These figurative transferences creatively transgress registers, genres, sharply-contoured discourses, and translate between the multiple surfaces of human existence and experience. I propose that the essayistic meandering of moving along residues and fissures opens up a more ethical approach to trauma. Such a disposition diverges from the positivist certitude of polarizing, moralizing, and sublimating narratives which inevitably lead to foreclosure. Filtering my arguments through the film's aestheticization of absence, I offer an ethical and responsible stance toward trauma and reveal its affective force as the substrate of our intricate relations to the other and our organic and non-organic environment.
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Cornejo, Yvonne Frances. "The embodiment of trauma in science fiction film : a case study of Argentina." Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/32515.
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A small number of articles and book chapters have analysed post-dictatorship Argentine science fiction film from a historico-political perspective, tracing embedded references to the 1976-1983 dictatorship and showing the ways in which films such as Hombre mirando al sudeste (Subiela, 1986), Moebius (Mosquera, 1996), La sonámbula (Spiner, 1998) or La Antena (Sapir, 2007) address the themes of political repression and violence through metaphor and connotation, under cover of a fantastic narrative. My approach complements these readings, extending the corpus and outlining the first book-length study of Argentine science fiction film. Contesting positions held by certain critics that science fiction is inadequate in terms of dealing with traumatic historical issues, and aiming to move beyond seeing the genre only as a ‘camouflage device’ which has enabled authors to hide their message within a fantasy framework under the threat of persecution, this thesis argues that science fiction film fills a gap where representations of trauma memory are concerned. On the one hand, its narrative strategies and tropes are highly suited to such representations. On the other, its status as popular culture places it on the outer margins of a political and cultural framework that has consistently denied the atrocities perpetrated in a totalitarian context and sought to impose a unilateral, hegemonic version of history. In the course of the study I draw on the fields of science fiction, psychology, and Latin American studies in a cross-disciplinary approach.
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Hallett, Claudia Margaret Elaine. "An experimental trauma film study to investigate the role of peri-traumatic cognitive processing on post-event PTSD symptoms and trauma memory." Thesis, King's College London (University of London), 2015. https://kclpure.kcl.ac.uk/portal/en/theses/an-experimental-trauma-film-study-to-investigate-to-investigate-the-role-of-peritraumatic-cognitive-processing-on-postevent-ptsd-symptoms-and-trauma-memory(b01bbfce-1db2-4a24-b847-aa833df4b226).html.
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BACKGROUND: In recent years there has been emerging empirical support for the hypothesis that the mode of processing adopted in relation to trauma can impact upon outcomes in trauma-exposed individuals. Specifically “abstract” and “concrete” cognitive processing styles have been found to exert negative and positive outcomes respectively. However, at present the mechanisms by which these processing modes exert their effects on outcomes remains unclear. OBJECTIVES: By means of a systematic narrative review, we investigated the effects of “abstract” and “concrete” cognitive processing styles on outcomes in trauma-exposed individuals, and looked for evidence of the possible mechanisms by which these processing modes may be operating. METHODS: A systematic search was conducted using MEDLINE, EMBASE and PsycINFO databases. Studies were eligible for inclusion if they were published in a peer-reviewed journal, conducted on an adult population, included exposure to a trauma or an analogue trauma/stressor, as well as containing a manipulation or measurement of either “abstract” or “concrete” processing. RESULTS: 12 articles were included in the review, providing data from 14 studies. Eight studies were experimental in design, four were cross-sectional and two were longitudinal. Abstract processing was shown to lower mood, increase intrusions and levels of arousal. CONCLUSIONS: Abstract processing may be a cognitive avoidance strategy, which hinders the emotional processing of trauma, and thus perpetuates traumatic symptoms. Future studies should examine the effects of processing mode on appraisals of and memory for the trauma in order to shed further light on this cognitive processing mechanism.
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Childress, Kirby. "A Phenomenology of Closet Trauma: Visual Empathy in Contemporary French Film and Graphic Novels." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618915090413157.
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Bevan, Jake. "Trauma, modernity and hauntings : the legacy of Japanese colonialism in contemporary South Korean cinema." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/33195.
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In recent years, South Korean filmmakers have repeatedly drawn upon the nation’s experience of Japanese colonialism as an element in the construction of their films. This thesis examines the multiple ways in which contemporary South Korean cinema has drawn upon this period in the nation’s history, through both direct representation, and allegory and evocation. I demonstrate how new perspectives have emerged, creating a space to construct more nuanced considerations of the colonial period beyond nationalist paradigms, whilst not shying away from the traumatic elements which had heretofore defined the dominant perceptions of the era. Utilising trauma theory as a key framework, I argue that by restaging the traumatic events of the past on-screen, filmmakers have provided an opportunity for audiences to come to terms with this past. Turning towards the Korean concept of han, which addresses the accumulation of negative affect and how these negative emotions can be purged through the expression of han, I explore how the folk song Arirang has been mobilised as a way of connecting a film to this legacy of sorrow. By invoking the feeling of han in their work, South Korean filmmakers have tied their personal concerns to a wider national sentiment. I then draw upon the notion of spectrality, and the depiction of ghosts in contemporary films, in order to demonstrate the ways in which the present is haunted by the unaddressed actions of the past. Finally, I argue that a series of films featuring amnesiac protagonists serve to allegorise the ‘settling the past’ movement, which saw the establishment of a number of ‘truth councils’ tasked with investigating aspects of the nation’s twentieth century history. Ultimately, this thesis argues that it is only by addressing and coming to terms with the traumatic elements of our past that we can ever hope to be rid of their negative influence.
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Lawn, Jennifer. "Trauma and recovery in Janet Frame's fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25087.pdf.
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Coates, Jennifer. "National crisis and the female image : expressions of trauma in Japanese film, 1945-64." Thesis, SOAS, University of London, 2014. http://eprints.soas.ac.uk/20301/.
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Inspired by recurring themes in the representation of the female body during the early postwar period of Japanese film production, this thesis investigates the affective impact of the female image during national crisis. Following scholars such as Miriam Hansen, Isolde Standish and Mitsuyo Wada-Marciano, who posit film as a reflexive medium which expresses and mediates popular anxieties, I suggest that the popularity of certain reoccurring female images on film can be understood in terms of their expressive and cathartic affect during the Allied occupation of Japan (1945-1952) and its aftermath. My art-historically informed iconographic analysis of popular film texts is contextualised by contemporary criticism and viewer responses published in major commercial film journals of the period, with reference to Japan's socio-political climate during the first decades of the postwar era. This study addresses the affect of film on the viewer as a means to understand the popularity of repetitive imagery. I suggest that recurrent trends within the presentation of the female image are coded to reflect viewer concerns and allay popular fears. In focusing on reoccurring themes in the female image on film, I engage with extant scholarship which identifies popular tropes in the representation of women in Japanese cinema, but which has yet to fully interrogate their impact or the reasons for their popularity, which engenders their repetition. The interdisciplinary approach of this thesis contributes to methodological questions within film studies as a discipline, while my use of affect theory is a new theoretical approach to postwar Japanese film. Analysis of the impact of affective imagery addresses concerns expressed in scholarship and in popular media throughout the twentieth century and into the twenty-first as to the impact of film imagery on the viewer.
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Mayo, Jason. "Native American Cinema: Indigenous Vision, Domestic Space, and Historical Trauma." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1366388821.
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Ashmore, Rupert Charles. "Landscape and crisis in northern England : the representation of communal trauma in film and photography." Thesis, Northumbria University, 2011. http://nrl.northumbria.ac.uk/4382/.
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Communal trauma is a culturally constructed ascription. Social agents propose that disastrous events have had traumatic effects upon the communities affected. If this proposition is convincing, then these events become acknowledged as communal traumas, and those affected as traumatised. This thesis examines how two crises in northern England: the Foot and Mouth Disease (F.M.D.) epidemic in Cumbria in 2001, and the demise of the mining industry in County Durham from the late 1970s onwards, have been constructed as communal traumas. While the F.M.D. epidemic in Cumbria has been explicitly studied, and therefore constructed as traumatic in sociological studies, the crisis was also broadcast through landscape imagery in press and documentary photography. This thesis examines such imagery in the work of photographers Nick May, John Darwell and Ian Geering, and in the printed and television media, and assesses how it has also contributed to the idea of F.M.D. as a communal trauma. This is one of the original contributions of this thesis. Another is the examination of the disappearance of the mining industry in County Durham since the rationalisation of the late 1970s, as communal trauma. This demise also had devastating economic, social and cultural effects for the communities involved, but has seldom been construed as communally traumatic. However, the film and photography of Newcastle’s Amber art collective creates a narrative that suggests precisely this, and fundamental to that narrative is landscape imagery. Their collaboration with the communities experiencing the effects of this demise, and the exhibition of their films and photography back to that community has created a vision of traumatic social change that is both corroborated and constructed by those most affected. With a detailed examination of the imagery of these two specific crises in Northern England, this thesis examines how landscape has contributed to the cultural construction of trauma.
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Randell, Karen Mary. "Hollywood and war : trauma in film after the First World War and the Vietnam War." Thesis, University of Southampton, 2003. https://eprints.soton.ac.uk/50596/.
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This thesis examines war trauma in film; it is a comparative reading that aims to study the relationship between films made after the First World War in the 1920s and films made during and after the Vietnam War. I use thirteen focus film texts, some which explicitly engage with war and some that do not. This thesis will argue that the production of these particular films was inflected by the collective trauma that the wars produced in American society. There was not, for example, an explicit combat film made for seven years after the First World War and thirteen years after the Vietnam War. This gap, I will argue, is symptomatic of the cultural climate that existed after each war, but can also be understood in terms of the need for temporal space in which to assimilate the traumas of these wars. An engagement with recent debates in Trauma Theory will be utilised to explore this production gap between event and film, and to suggest that trauma exists not only within the narratives of these focus films but also within the production process itself. This thesis contributes significantly to recent debates in Trauma Studies. As it presents film history scholarship, First World War and Vietnam veteran experiences and archive newspaper research as compatible disciplines and uses the lens of trauma theory as a methodological thread and tool of analysis.
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Parziale, Amy Elizabeth. "Representations of Trauma in Contemporary American Literature and Film: Moving from Erasure to Creative Transformation." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/301676.
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This dissertation attempts, in its limited way, to redress the repeated erasure of trauma from public knowledge and social consciousness by examining how a variety of crisis events have been represented in contemporary American literature and film. Intersecting archival, trauma, literary and film studies, this project highlights connections across politics of institutions and politics of identity by considering the creative transformation of trauma in representation. Considering how trauma aesthetics across a broad spectrum also illuminates the ways social structures are reinscribed, how trauma permeates and crosses borders in productive ways, and how race, gender, sexuality, and class relate to the traumatic. Each text included here has an interesting relationship to cultural history and historic events - including the Holocaust, 9/11, and slavery - challenging a variety of accepted social narratives. After an introduction outlining the theoretical frameworks, the first chapter considers Cuban-American author Cristina García's work; specifically how her first two novels - Dreaming in Cuban and The Agüero Sisters - attempt to resolve the traumatic pasts of female characters, while her subsequent two novels - Monkey Hunting and A Handbook to Luck - consider which stories are collected and which are lost. Reading novels as potential counter-archives envisions more inclusive understandings of truth, history, memory, and trauma. The image/texts analyzed in the next chapter continue this line of inquiry, further blurring supposedly stable categories like truth and history through complex interpretative relationships between textual and visual narratives in two Holocaust and four American novels. The third chapter argues that the archive created by films is not only citational and referential but potentially rewrites history. The fleeting traumatic revelations in Vertigo, Chinatown, Taxi Driver, The Searchers, Chan is Missing, and The Return of Navajo Boy acknowledge the impact and implications of trauma while creating collective memories through cinema. Similarly, the brief moments of idealized community in Toni Morrison's novels move the readerly experience out toward the current sociopolitical moment. The ambiguous endings of The Bluest Eye, Beloved, and Paradise open quietly kept narratives to history and recuperate traumatized voices that represent our past and call us to our present.
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Schlumpf, Erin. "Melancholy, Ambivalence, Exhaustion: Responses to National Trauma in the Literature and Film of France and China." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10263.
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This dissertation exposes responses to national trauma in literature and film from France in the twenty-five years following the 1940-1944 German Occupation, and from China in the twenty years following the 1989 Tiananmen Square Incident. My study is unique in that it focuses on French and Chinese authors who lived through the two traumatic periods, but whose work does not present a conventional version of bearing witness. Instead of locating expressions of national trauma in narratives describing historical traumatic events, I detect three aesthetic concerns or symptoms--melancholy, ambivalence, and exhaustion, which can be read as the traces of traumas that seem to evade direct identification. I argue that trauma may make its presence known by an absence of reference to its source. Emerging during post-traumatic periods--the Trente glorieuses in France (from 1945 to 1973) and the Post-New Era in China (from 1990 to the present)--my dissertation argues that novels by Marguerite Duras and Wang Anyi, novellas by Samuel Beckett and Ge Fei, and films by Jean-Luc Godard and Jia Zhangke reveal a tension between present national circumstances and ghosts from the past. These two post-traumatic national moments in France and China share the state projects and dominant discourses of economic growth, consumption, individualism, and nationalism, which I claim aided in the repression of troubled recent histories. The works of fiction and film I discuss in this dissertation, marked by melancholy, ambivalence, and exhaustion, offer counter-discourses in that they fail to partake in the project of national "progress," instead exposing irresolution with respect to overcoming history. In these works, furthermore, I contend that such historical (re)negotiations prompt aesthetic innovations, allowing for a redefinition of the causes and cases of early postmodernism.
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Ball, S. "The effect of rumination on analogue-PTSD symptoms : an experimental investigation using the trauma film paradigm." Thesis, University College London (University of London), 2010. http://discovery.ucl.ac.uk/849456/.
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This thesis is presented in three parts. Part one reviews published studies utilising the 'trauma film paradigm'; an experimental analogue method for investigating the effect of pre-, peri-and post-trauma variables on PTSD symptomatology. It reports results from the reviewed trauma "film paradigm studies in relation to intrusive memories and compares these findings with clinical literature and cognitive processing models of PTSD. Part two presents the empirical paper; an investigation of the effect of rumination on analogue-PTSD intrusive memories and mood using the trauma film paradigm. Results indicate that both trauma-and non trauma-related rumination affects intrusions and negative mood. This was the first experimental study to specifically examine the role of rumination in the maintenance of symptoms. Findings support clinical research regarding the effects of rumination in persistent PTSD. The findings are presented in the context of theoretical explanations for the effect of rumination. Strengths and limitations of the study, as well as clinical implications, are discussed. Part three is a critical appraisal of the research study, which draws on the literature review presented in part one, and reflects in more detail on the methodological and conceptual strengths and limitations of the research. It also discusses the development of ideas underlying the study and the implications for future trauma film paradigm studies and clinical treatment.
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Powell, Elizabeth. "The trauma aesthetic : (re)mediating absence, emptiness and nation in post-9/11 American film and literature." Thesis, University of East Anglia, 2011. https://ueaeprints.uea.ac.uk/42401/.
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This thesis proposes a concept of the trauma aesthetic in order to make sense of the ways in which particular texts have responded to the events of 9/11 as an intensely mediated and vicariously experienced cultural trauma. A central argument within existing studies of 9/11 and its cultural impact is that, in the immediate aftermath at least, the dominant interpretation of the events often relied on crude and simplistic notions of national identity and American exceptionalism. Drawing on a variety of the cultural, political and aesthetic discourses which have emerged in post-9/11 studies, this thesis argues that the trauma aesthetic (re)mediates the cultural narrative of 9/11 in more complex and nuanced ways. The thesis examines four novels: Falling Man (Don DeLillo, 2007), Extremely Loud and Incredibly Close (Jonathan Safran Foer, 2005), Man in the Dark (Paul Auster, 2008) and The Road (Cormac McCarthy, 2006), and four films: A History of Violence (d. David Cronenberg, 2005), In the Valley of Elah (d. Paul Haggis, 2007), 25th Hour (d. Spike Lee, 2002) and Eternal Sunshine of the Spotless Mind (d. Michel Gondry, 2004). All of these texts respond to the trauma of 9/11 either directly or indirectly and explore similar themes of masculinity, culpability and the nature of traumatic experience. My analysis identifies a series of metaphors, common to all of these texts, which are used to (re)mediate the sense of absence and emptiness integral to the experience of 9/11 and the sense of vulnerability which it inflicted upon American national identity. These include: falling, timelessness, placelessness and the absent body. By drawing on and adapting existing trauma theories from scholars such as Cathy Caruth and Kali Tal the thesis proposes the trauma aesthetic as a new critical tool for the understanding of post-9/11 film and literature.
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Levi, Dejan. "Negotiating tropes of madness : trauma and identity in post-Yugoslav cinemas." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/negotiating-tropes-of-madness-trauma-and-identity-in-postyugoslav-cinemas(70e003f1-291b-4fb4-b14a-b1ec628750c5).html.
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This thesis examines how madness has been used in post-Yugoslav cinemas to facilitate thinking about experiences of the break-up of the SFRY throughout the 1990s and 2000s, its consequences and implications for the future. The study conceptualises post-Yugoslav film cultures as public spheres in which artistic and industrial practices are often combined to create meaning around the core themes of trauma and identity in post-Yugoslav cultures. Working with seven feature-length titles from a range of post-Yugoslav successor states (Croatia, Bosnia and Herzegovina, Serbia, Macedonia and Kosovo) I illustrate how images of madness have been essential in the cultural processing of events of the 1990s. Whilst featuring individuals suffering mental instabilities and disturbances, and sometimes asylums or mental health institutions, I contend such films are not ultimately concerned – on a thematic level – with mental health, but instead focus on the use of such characters in a metaphoric capacity for engaging core themes of Yugoslav break-up, conflicts, and difficulties of subsequent transition. Using the semantic/syntactic approach to genre, I identify two common ways in which madness is used on a textual level to engage these core themes. The first of these, the ‘inside-out asylum trope of madness’, is concerned with the use of the asylum in films which assess critically the dominant political ideologies of the successor states in question at a time when political pluralism was not yet established by the transition process. Films discussed include Burlesque Tragedy (Marković, 1995), Marshall Tito’s Spirit (Brešan, 1999), and Kukumi (Qosja, 2005). The second trope is the ‘multiple realities trope of madness’ in which the presentation of diegetic reality on screen is adapted to reflect various conceptualisations of trauma and loss arising from Yugoslav break-up and transition. Here the films include Loving Glances (Karanović, 2003), Fuse (Žalica, 2003), Mirage (Ristovski, 2004) and Land of Truth, Love and Freedom (Petrović, 2000). Across the films selected, it is madness which ultimately provides a diverse pool of metaphors and images for an assessment of Yugoslavia’s traumatic demise and the ensuing process of picking through the debris of its ideology, cultural practices, values and ways of living for precisely what might be salvageable and what should be discarded.
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Baker, Julia K. "The return of the child exile re-enactment of childhood trauma in Jewish life-writing and documentary film /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?ucin.
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Thesis (Ph. D. )--University of Cincinnati, 2007.Advisor: Dr. Katharina Gerstenberger Title from electronic thesis title page (viewed Dec.10, 2007). Includes abstract. Includes bibliographical references.
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BAKER, JULIA K. "THE RETURN OF THE CHILD EXILE: RE-ENACTMENT OF CHILDHOOD TRAUMA IN JEWISH LIFE-WRITING AND DOCUMENTARY FILM." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1186765977.
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Barnes, Christopher. "Mediating Terror: Filmic Responses to September 11th, 2001, and the "War on Terror"." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1341932373.
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Hodgen, Jacob Michael. ""Boot Camp for the Psyche" : inoculative nonfiction and pre-memory structures as preemptive trauma mediation in fiction and film /." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2506.pdf.
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Andrade, Chinchilla Fabiola Y. "It's Me, Sarah." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2582.
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This paper describes the making of It’s Me, Sarah, a University of New Orleans thesis film. It explores the process of creating the film in three parts. Part one will examine the pre-production, including the writing and preparation for the shoot. Part two will detail the production, including the shooting affairs. Part three will cover the post-production process, which will include the editing. The document will then reference these three segments regarding the film’s theme and will conclude by evaluating whether the final film achieves its intended conception.
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Choudhary, Carolyn J. "Why laterality matters in trauma : sinister aspects of memory and emotion." Thesis, University of Stirling, 2008. http://hdl.handle.net/1893/1225.
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This thesis presents an eclectic mix of studies which consider laterality in the context of previous findings of increased prevalence of Posttraumatic Stress Disorder (PTSD) in male combat veterans with non-consistent right hand preference. Two studies extend these findings not just to civilian populations and women, but to left handers and find that left, rather than mixed, handedness is associated with increased prevalence of PTSD in both general population and clinical samples, and to severity of symptoms in the former. To examine issues relevant to the fear response in healthy populations, a movie excerpt is shown to be theoretically likely to target the emotion of fear and to generate subjective and physiological (skin conductance) responses of fear. The film is used as a laboratory analogue of fear to examine possible differences in left and right handers in memory (for events of the film) and in an emotional Stroop paradigm known to produce a robust and large effect specifically in PTSD. According to predictions based on lateralisation of functions in the brain relevant to the fear response, left handers show a pattern of enhanced memory for visual items and poorer memory for verbal material compared to right handers. Immediately after viewing the film, left handers show an interference effect on the Stroop paradigm to general threat and film words and increased response latency compared to right handers, approaching performance of previously reported clinical samples with PTSD. A novel non-word Stroop task fails to show these effects, consistent both with accounts of interference as language processing effects and compromised verbal processing in PTSD. Unexpected inferior performance of females in memory for the film, contrary to previous literature, may also be amenable to explanations invoking compromised left hemisphere language functions in fear situations. In testing one theory of left handedness as due to increased levels of in utero testosterone, the 2D:4D (second to fourth digit ratio) provides mixed evidence in two samples. A possible association of more female-like digit ratios in males with PTSD is a tentative finding possibly relevant to sex differences in prevalence of PTSD. A critique of existing and inadequate theoretical accounts of handedness concludes the thesis and proposes a modification of the birth stress hypothesis to one specifically considering peri-natal trauma to account for the above findings. This hypothesis remains to be empirically tested.
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Christ, Nicole M. "Psychophysiological Correlates of Novel, Negative Emotional Stimuli in Trauma-Exposed Participants with PTSD Symptoms." University of Toledo / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1534160952853362.
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Kagan, Danielle. "Family Anthology." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2150.
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This is a film about my father, who died in 2017. It deals with his ancestry, rooted in South African history, as well as the events before and after his family’s immigration to America in 1965. The purpose of the project was to investigate the past, as I have been disconnected from my family history due to exile, assimilation, tragedy and trauma. This lead to the discovery of undeniable patterns of love and loss, which I present in this film, yet do not completely understand. Content warning: discussion of suicide and car accidents.
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Guerra, Karla M. "Listen to Me." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1084.
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Adaptation of personal experiences to a screen is no new concept, in fact it is the driving force to media content creation. All storylines and narratives are related to personal experience whether literally or metaphorically. These experiences are externalized in media by many forms, ranging from the visible and audible. Mainstream media is tied to an entertainment purpose, regardless of themes and topics presented. Therefore, it is important to understand that some of the depictions presented in media are linked to stigma or misrepresentation. This is particularly true for portrayals of mental illness and experiences of trauma. I plan on exploring how media, specifically animation, can communicate subjective experiences of mental illness and trauma. In my exploration I will also speak about the role of abstract and experimental animation in this endeavor. While live action contains an element of reality in contextualizing events or experiences, animation allows one to take full control of the visual representation of a subject and agency over constructing a narrative. Animation is a means of inquiry that exemplifies an art form and a journey of self-discovery. I created a short experimental film reconstructing my subjective experience with childhood sexual trauma. I will embrace visually stimulating abstract animation and stop motion to create an evocative visualization of my personal experience. This means of visual production takes the process of subjective experience a step further and literally becomes a process of laborious and tedious composition, culminating with a personal narrative piece.
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Stamm, Gina M. "The Context of Loss: Contextualization of the Language of Traumatic Memory in Hiroshima Mon Amour and Le Ravissement de Lol V. Stein." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1279639764.
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Mokdad, Linda Y. "Imaginary geography: mapping the history of the Middle East in post-9/11 American cinema." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/1702.
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This dissertation examines a cycle of Hollywood films that spans over a decade, and which engages with and privileges a historical and geopolitical framework to address America's encounters and confrontations with the Middle East. At one level, these films map the 9/11 terrorist attacks onto various sites and histories that signify a contentious relationship between the Middle East and the United States (including Islamic fundamentalism, the invasions of Afghanistan and Iraq, the Arab-Israeli conflict, or the struggle over oil). In doing so they incorporate and absorb elements from other media (the Internet, television, journalism) to augment and authorize film's signifying capacities. At another level, and in tension with this dispersal, these post-9/11 films regulate and manage these histories through the generic and narrative mechanisms of the action, conspiracy or combat film.
If these films privilege a discourse of investigation and expertise that postulates scientific neutrality, and even a technologized view of the Middle East, they alternately mobilize trauma and victimization discourse to delineate, prioritize and redeem the American male body. In addition, the construction of the Middle East in post-9/11 Hollywood cinema in terms of space (vis-à-vis the emphasis on cartography, geography, and surveillance technologies) and time (real time, instantaneity, pastness), plays a central role in the strategies and practices that have contributed to the production of knowledge about the region since 9/11. Focusing primarily on post-9/11 American intelligence and military narratives, this study explores what is at stake in the cinematic struggle to accommodate, but ultimately, recast history in light of U.S.-Middle East relations.
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Sweeney, Ellen Elizabeth. "Partition and its legacies: a cross-cultural comparison of Irish, British and South Asian cinemas." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2016.
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In this dissertation, I will explore how 1990s and 2000s British, Irish and South Asian historical films represented the violent legacy of partition on the island of Ireland and in South Asia, respectively. I contend that a cross-regional and cross-national examination of the relationships between national memory, national cinema and minority will reveal that partition had a similar effect on Irish, South Asian and Northern Irish societies: the alignment of a normative national identity with a particular religious identity. This study will explore how key Irish, British and South Asian cinematic texts, despite being produced in disparate production contexts, similarly represent the brutal marginalization of gendered and religious minorities as a central legacy of partition.
In my engagement with these films, I have two central areas of exploration. The first is how these films challenge state or majoritarian histories by presenting themselves as historical texts that correct the historical record. I will show how state histories (Michael Collins), majoritarian narratives (Hey!Ram), repressed gendered minority histories (Khamosh Pani, The Magdalene Sisters) and post-conflict narratives (Five Minutes of Heaven and Fiza) contest majoritarian or colonial histories.
The second, and ancillary, area of exploration is how the international trauma film genre influences the films' respective representations of atrocity. I argue that trauma theory can help us understand minorities' relationship to the state and the ongoing impact of particular historical events on community and nation. To ground my comparative analysis, I draw from postcolonial theory, poststructuralism and trauma theory. In conclusion, I will contend that these films' minority figures remind us of the dangers of nationalism's limited imaginative boundaries and the role that cinema plays in helping us to think beyond its limitations.
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Lechintan, Adela A. "Cinematic Reverberations of Historical Trauma: Women's Memories of the Holocaust and Colonialism in Contemporary French-Language Cinema." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1315504205.
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Caujolle, Coralie. "Trauma et résilience chez Elizabeth Gaskell : corps, langage et signes dans les romans et leurs adaptations." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040130.
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De Mary Barton à Wives and Daughters, les romans d’Elizabeth Gaskell mettent en scène des héroïnes qui affrontent des épreuves comme la mort, la maladie, la disparition de membres de leur famille, la naissance d’un enfant illégitime, la banqueroute, etc. Ses héroïnes sont forcées d’évoluer afin de survivre, d’autant plus que la période victorienne, jalonnée d’évolutions sociales, politiques, et scientifiques, ne les épargne pas. Si le trauma est souvent décrit comme un événement extraordinaire, les romans de Gaskell prouvent au contraire qu’il trouve sa source dans le quotidien. Même si les notions de trauma et de résilience n’existaient pas à l’époque victorienne, elles ne sont pas nées avec la psychanalyse, et Gaskell a su trouver son propre vocabulaire pour décrire l’intense vie psychique de ses personnages et leur capacité à se remettre de leurs blessures. Elle donne une voix aux répercussions mentales et physiques du trauma, saisissant les signes infimes, afin de rendre communicable ces expériences de la douleur. Nous verrons comment Gaskell parvient à construire un nouveau type de personnage féminin, l’héroïne gaskellienne, caractérisée par sa capacité à absorber les chocs traumatiques et par son héroïsme. Les adaptations cinématographiques de ses romans réalisées ces dernières années (North and South, Cranford, Wives and Daughters) participent à la nouvelle popularité de Gaskell. Le cinéma offrant un nouveau régime de visibilité et d’audibilité aux expériences traumatiques, nous analyserons les choix faits par les réalisateurs et scénaristes (utilisation du son, montage, ajouts de personnages, etc.) pour transposer à l’écran la subtilité de GaskellFrom Mary Barton to Wives and Daughters, Elizabeth Gaskell’s novels portray heroines who have to deal with ordeals such as death, disease, missing family member, illegitimate child, bankruptcy, etc. Her heroines are forced to evolve in order to survive, especially as they live in a period riddled with social, political and scientific changes which does not spare them. If trauma, which Greek origin refers to the wound, is often described as an extraordinary event, Gaskell’s novels, on the contrary, demonstrate that trauma arises in daily life. Even if these notions did not exist in the Victorian period, trauma and resilience were not born with psychoanalysis. Gaskell found her own language to describe her characters’ deep psychic life and their aptitude to resist and to recover from their wounds. She gives voice to the mental and physical repercussions of trauma, grasping all the hardly perceptible signs, in order to communicate these experiences of pain. We will see how these writing strategies enable Gaskell to build a new type of feminine character, the Gaskellian heroine, characterized by her aptitude to absorb traumatic shocks and by her heroism.Screen adaptations of her novels (North and South, Cranford, Wives and Daughters) were made in the last few years, thus contributing to Gaskell’s new popularity. As cinema offers a different regime of visibility and audibility to traumatic experiences, we will analyse the choices made by directors and scriptwriters (use of sound, editing processes, addition of characters, etc.) to adapt for the screen Gaskell’s subtlety
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Rumball, Freya. "Studying individual differences and emotion regulation effects on PTSD-like responding and recovery : a psychophysiological VR-trauma paradigm." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/14171.
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Despite a high proportion of the population experiencing traumatic events within their lifetime, the number of individuals who go on to develop posttraumatic stress disorder (PTSD) is comparatively small; herein highlighting the importance of individual differences in imparting risk and resilience towards the development and maintenance of PTSD. Existing literature illustrates that biological and ecological factors are important in predicting PTSD development, with pathological vulnerabilities excepting their effects at pre- peri- and post trauma stages. Whilst cognitive and emotion based models of PTSD account for the role of a minority of known pre-trauma risk factors, individual differences in peri- and post trauma processes are held as critical to the development of PTSD. The broad range of risk factors implicated in the empirical literature, and necessity of traumatic exposure to PTSD, implicates the utility of a diathesis-stress conceptualisation of PTSD development. The current thesis employed an analogue VR-trauma paradigm to investigate the respective importance of vulnerability factors at each stage, in the prediction of analogue PTSD symptoms (memory problems, startle responses, re-exposure fear habituation), whilst measuring affective and electrophysiological concomitance. Findings supported the importance of peri-traumatic responses in the prediction of PTSD, where present, showing increased predictive capacities over pre- and post-trauma factors. Biological and ecological factors also illustrated important predictive associations, with genetic SNPs implicated in reflex startle and cardiac responses towards intrusive memories. Moreover, peri-traumatic HR decelerations and accelerations mediated the association between pre-trauma factors and cued recall inaccuracy and intrusion severity respectively. Results support existing cognitive and emotional models in their emphasis on peri-traumatic processes but suggest the added utility of a diathesis stress conceptualisation of the development of PTSD, in highlighting the importance of pre-trauma biological and ecological risk and resilience factors.
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Wardell, Emily K. "Graphic Content Warning; Personal and Political Traumas." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5849.
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The written portion of this thesis work is meant to address and further investigate the visual work created using mediums of print and found video. This artistic research has been interested in examining varying associations with truth, recollection, and evidence. This includes the recollection of public histories and news-media narratives as well as my own history and trauma. Through this work my aim was to create a deconstruction and revolt against how associations are formed, and how to understand imagery as information. This thesis first discusses my relationship to appropriated imagery, then connects and examines it through the addition of poetic elements and events from my own lived experience.
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Mai, Nadin. "The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/22990.
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Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.
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Troth, Brian Jonathan. "Amour à risques: A Reworking of Risk in the PrEP Era in France." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1562092704692905.
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Clark, Ian Alexander. "A clinical neuroscience investigation into flashbacks and involuntary autobiographical memories." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:04f72e37-73fe-4347-8af1-8d8852c05f1b.
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Recurrent and intrusive distressing recollections of trauma are a hallmark symptom of Posttraumatic Stress Disorder (PTSD). The term ‘flashback’ is used in this thesis to refer to vivid, sensory perceptual (predominantly visual images), emotional memories from a traumatic event that intrude involuntarily into consciousness. Furthermore, intrusive image based memories occur in a number of other psychological disorders, for example, bipolar disorder and depression. Clinically, the presence and occurrence of flashbacks and flashback type memories are well documented. However, in terms of the neural underpinnings there is limited understanding of how such flashback memories are formed or later involuntarily recalled. An experimental psychopathology approach is taken whereby flashbacks are viewed on a continuum with other involuntary autobiographical memories and are studied using analogue emotional events in the laboratory. An initial review develops a heuristic clinical neuroscience framework for understanding flashback memories. It is proposed that flashbacks consistent of five component parts – mental imagery, autobiographical memory, involuntary recall, attention hijacking and negative emotion. Combining knowledge of the component parts helped provide a guiding framework, at both a neural and behavioural level, into how flashback memories may be formed and how they return to mind unbidden. Four studies (1 neuroimaging, 3 behavioural) using emotional film paradigms were conducted. In the first study, the trauma film paradigm was combined with neuroimaging (n = 35) to investigate the neural basis of both the encoding and the involuntary recall of flashback memories. Results provided a first replication of a specific pattern of brain activation at the encoding of memories that later returned as flashbacks. This included elevation in the rostral anterior cingulate cortex, insula, thalamus, ventral occipital cortex and left inferior frontal gyrus (during just the encoding of scenes that returned as flashbacks) alongside suppressed activation in the left inferior frontal gyrus (during the encoding of scenes that returned as flashbacks in other participants, but not that individual). Critically, this is also the first study to show the brain activation at the moment of flashback involuntary recall in the scanner. Activation in the middle and superior frontal gyri and the left inferior frontal gyrus was found to be associated with flashback involuntary recall. In the second study, control conditions from 16 behavioural trauma film paradigm experiments were combined (n = 458) to investigate commonly studied factors that may be protective against flashback development. Results indicated that low emotional response to the traumatic film footage was associated with an absence of flashbacks over the following week. The third study used a positive film to consider the emotional valence of the emotion component of the framework. Positive emotional response at the time of viewing the footage was associated with positive involuntary memories over the following week. The fourth study aimed to replicate and extend this finding, comparing the impact of engaging in two cognitive tasks after film viewing (equated for general load). Predictions were not supported and methodological considerations are discussed. Results may have implications for understanding flashbacks and involuntary autobiographical memories occurring in everyday life and across psychological disorders. Further understanding of the proposed components of the clinical neuroscience framework may even help inform targeted treatments to prevent, or lessen, the formation and frequency of distressing involuntary memories.
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McDonald, Caitlin Elizabeth. "Exile, authorship, and 'the good German' : a reconsideration of the screenplays and novels of Emeric Pressburger." Thesis, University of Dundee, 2018. https://discovery.dundee.ac.uk/en/studentTheses/91a2c05b-c5ac-40b7-baae-9a2a5836ea51.
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Despite being an equal in the most significant partnership in British cinema, Emeric Pressburger has largely been overshadowed by his long term collaborator Michael Powell in both critical and academic studies. While there have been countless books on Powell and Pressburger as a team, those who have sought to separate the partnership have, until now, focussed almost exclusively on Powell. This thesis will attempt to redress the balance within Powell and Pressburger scholarship and attempt to break away from director-centric film studies. It will aim to examine Pressburger’s morally ambiguous characters, such as the recurring “good German” and his propensity to humanise characters who would normally be termed evil or corrupt, in conjunction with the central themes of displacement and exile within Pressburger’s screenplays and novels. The thesis will also utilise both unpublished and unfilmed material and demonstrate that the study of these works that exist only in archives provide a greater insight into the working practises of authors and filmmakers, while providing a valuable point of comparison to their more widely known works. Specifically, this thesis will address four separate aspects of Pressburger’s canon. First, it will discuss Pressburger’s war films which he made with Powell, which have suffered to an extent from neglect by many Archers’ scholars. It is clear that Pressburger’s key hallmarks and mirroring of his own experiences during the war can be seen to develop within these works and provide an ideal point of comparison with that of his later projects such as his novels. Chapter two will then examine the often overlooked filmed operetta, Oh ... Rosalinda!! (1955) along with Pressburger’s unfilmed screenplay The Golden Years (1951) a biopic of Richard Strauss, and provide a comparison to demonstrate the manner in which Pressburger’s love of opera overlapped with his development of complex characters and response to the war. Chapter three will analyse Pressburger two published novels, both of which have been largely ignored by both cinema and literary critics. Through the study of these novels, the difference in approach after the transition from screenwriter to novelist will be examined, along with the further development of his seeming neutrality in the portrayal of morally unsound characters. Chapter four will then focus on Pressburger’s two unpublished novels, The Unholy Passion and A Face like England, with consideration of Pressburger’s developing ideas of morality and forgiveness in his later years. In conclusion, by closely examining works that have been overlooked by Powell and Pressburger scholars, the thesis will shed new light on Pressburger, both as a filmmaker and an author and demonstrate the complexities of both his characters and his writing.
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Bačíková, Alžběta. "Dokumentární přístupy v pohyblivém obraze v současné umělecké praxi." Doctoral thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2018. http://www.nusl.cz/ntk/nusl-387736.
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The Dissertation titled Documentary Approaches in Contemporary Fine Art Moving Image focuses on the practical and theoretical research of documentary approaches to videos and films in the art field. It notices especially the self-reflexive strategies as a consequence of critical approach towards the medium itself and lack of belief in its ability to mediate reality or truth. Attempts to convey reality by audiovisual means are accompanied by the reflection of the way this happens. The Dissertation also reflects on the uncertain relation between the documentary and truth, which has been described in art by the artist and theoretician Hito Steyerl. The examined artworks were made in the period between the beginning of 21st century, when the documentary turn was reflected intensively, and the present time. The selection of examples was strongly influenced by the local study of Israeli art in The Video Archive of the Center for Contemporary Art in Tel Aviv. Motives of conflict, violence and trauma resonating in studied videos and films influenced further selection and analysis of the authors’ documentary methods from a different context. In the selected works I can see particularly various forms of alienation effects and self-reflexive approaches. Using these procedures the artists highlight the constructedness of the audiovisual work and the way it was produced. Recurring formal principles have been stated. Reenactment of real events, revealing the way the work was produced or the artist’s position in the production process; these strategies indicate the uncertain relationship between the documentary work and reality. In the frame of these tendencies also reevaluation of the observational documentary strategies as something seemingly opposite to self-reflexive strategies is reviewed. Theoretical outcomes are continuously accompanied by author’s own art projects concentrated around the form of documentary portrait and its (de)construction. They experiment with the formal principles analyzed on a theoretical level.
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Shields, Amber. "In-between worlds : exploring trauma through fantasy." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16004.
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While fantasy as a genre is often dismissed as frivolous and inappropriate, it is highly relevant in representing and working through trauma. The fantasy genre presents spectators with images of the unsettled and unresolved, taking them on a journey through a world in which the familiar is rendered unfamiliar. It positions itself as an in-between, while the consequential disturbance of recognized world orders lends this genre to relating stories of trauma themselves characterized by hauntings, disputed memories, and irresolution. Through an examination of films from around the world and their depictions of individual and collective traumas through the fantastic, this thesis outlines how fantasy succeeds in representing and challenging histories of violence, silence, and irresolution. Further, it also examines how the genre itself is transformed in relating stories that are not yet resolved. While analysing the modes in which the fantasy genre mediates and intercedes trauma narratives, this research contributes to a wider recognition of an understudied and underestimated genre, as well as to discourses on how trauma is narrated and negotiated.