Journal articles: 'Trauma film'

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Landry, Olivia. "A Body Without a Face: The Disorientation of Trauma in Phoenix (2014) and New Holocaust Cinema." Film-Philosophy 21, no. 2 (June 2017): 188–205. http://dx.doi.org/10.3366/film.2017.0043.

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This article analyses Christian Petzold's exemplary 2014 film Phoenix, tracking a new development in Holocaust cinema that focuses on phenomenological narratives of embodied experience of trauma. It examines the film through the cinematic representation of the traumatised body. While there is no dearth of scholarly inquiries into the relationship of trauma and the body and how it is mediated through film, these are often more concerned with the way in which the body becomes a projection screen for repressed or collective trauma and less about the lived conditions of individual trauma. The present analysis offers a rethinking of the traumatised body as one beset by the condition of disorientation. As a methodological guide, it turns to Sara Ahmed's pivotal phenomenological study Queer Phenomenology (2006).

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Laine, Tarja. "Traumatic Horror Beyond the Edge: It Follows and Get Out." Film-Philosophy 23, no. 3 (October 2019): 282–302. http://dx.doi.org/10.3366/film.2019.0117.

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Within cinematic horror, trauma as a concept has often been used as an allegorical strategy to work through collective anxieties. This article on It Follows (David Robert Mitchell, 2014) and Get Out (Jordan Peele, 2017) strikes another note. It argues that, by their aesthetic qualities, both films are rendered traumatic in their affective orientation, both toward the cinematic world and toward the spectator. It analyses the two films through trauma as an affective-aesthetic strategy that puts emphasis on the edge of the frame as well as on the offscreen space. This strategy evokes a sinister mood that exists independently of the protagonists, allowing us to meaningfully feel the effects of their trauma as we engage with the film. Especially the use of the offscreen space in both films contributes to the “traumatic mood” of the films, but it also functions to immerse the spectator in the invisible filmic world. In this way, It Follows and Get Out embody trauma as a denial of relief from dread, which we both recognize in the characters' experience, and feel in our own bodies through the effective creation of ever-present threat.

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Kršinić Lozica, Ana. "New Memory of the Old Trauma?" Politička misao 59, no. 4 (December 23, 2022): 88–115. http://dx.doi.org/10.20901/pm.59.4.05.

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Recently, there has been a significant rise in the production of films on the ‎Jasenovac camp and related Ustasha crimes, taking their share in the mnemonic‎ politics. The paper focuses on the two most recent films, The Diary of‎ Diana B., a docufiction filmed in Croatia, and Dara of Jasenovac, a feature‎ film which was Serbia’s candidate for an Oscar. The memory of traumatic ‎events is remediated in each film differently and used for representing diverse‎ group identities through temporal relation with the difficult past. Comparison ‎between the two films focuses on subject positions and regimes of historicity ‎as categories that make the production of meaning mechanism visible. The‎ main questions that guide the analysis are: how are victims and perpetrators ‎portrayed, who is witnessing traumatic events, and to whom is the trauma attributed?‎ Do they bring something new to the cultural memory of the Holocaust‎ and genocide in the Independent State of Croatia?‎

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Pedro, Dina. "Fictionalising the unspeakable: Guillermo del Toro’s Crimson Peak (2015) as a trauma narrative." Revista de Filología de la Universidad de La Laguna, no. 43 (2021): 213–32. http://dx.doi.org/10.25145/j.refiull.2021.43.11.

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Neo-Victorian narratives of trauma display a temporal duplicity in addressing nineteenthcentury traumas that still prevail at present, including natural catastrophes, wars, or more personal and insidious traumas, such as domestic violence and oppression, or child and sexual abuse. In this article, I argue that Guillermo del Toro’s neo-Victorian film Crimson Peak (2015) is constructed as a trauma narrative that exploits the trope of «the uncanny» (Freud 1919) and its main representations –i.e. the double, the return of the dead and repetition compulsion– to address the traumatic experience of gender violence and its impact on both Victorian and contemporary women. Furthermore, I contend that the film functions as a symbolical space where the audience can bear witness to and reflect on the multitemporal trauma of gender violence. That way, viewers can bear witness and develop empathy towards survivors of this traumatic experience.

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Arnaudova, Inna, and Muriel A. Hagenaars. "Lights … action: Comparison of trauma films for use in the trauma film paradigm." Behaviour Research and Therapy 93 (June 2017): 67–77. http://dx.doi.org/10.1016/j.brat.2017.02.007.

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Koontz, Emma. "Reopening Wounds: Processing Korean Cultural Trauma in Park Chan-wook’s Oldboy and Sympathy for Lady Vengeance." Oregon Undergraduate Research Journal 20, no. 2 (November 16, 2022): 99–107. http://dx.doi.org/10.5399/uo/ourj/20.2.7.

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In 1988, South Korean president Roh Tae-woo implemented democratic reforms in order to host the Olympic Games. These reforms opened the floodgates for Korean New Wave films. The reforms repealed censorship regulations and gave Korean filmmakers the autonomy to actualize their creative visions for the first time since they were colonized by Japan in 1910. The results of this newfound artistic freedom were films that grappled with the trauma of eighty years of colonialism, war, and authoritarian dictatorship through biting political commentary. This study explores Park Chan-wook’s representation of 한 (han) Korean cultural trauma in his New Wave films Oldboy and Sympathy for Lady Vengeance. Using literature on trauma, film, and Korean history combined with original film analysis, this study works to explain the criticisms embedded in Chan-wook’s films. The films critique revenge fantasies and both conscious and unconscious ignorance of traumatic events by demonstrating they are ineffective methods of processing한. His films show that the only way to heal 한 is to acknowledge and accept all wrongdoing, even one's own, and mourn the consequences of the atrocities. While 한 is specific to Koreans, cultural trauma is not. The ubiquity of cultural trauma makes the lessons in Chan- wook’s works of paramount importance and global relevance. While resolution of trauma is never final, Chan-wook’s films serve both as a guideline for and a performance of cultural healing in the face of moral atrocities.

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C. Simon, John. "MEMORI TRAUMA DALAM FILM G30S/PKI: SEBUAH INTERPRETASI TEOLOGIS." Abrahamic Religions: Jurnal Studi Agama-Agama 1, no. 2 (September 30, 2021): 129. http://dx.doi.org/10.22373/arj.v1i2.10689.

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This article is motivated by the polemic surrounding watching the G30S/PKI film. The purpose of writing is to find new insights from film as one of the artifacts of popular culture: where film is a mirror of oneself, even a mirror of a nation. Through an effort to analyze the film Peng betrayan G30S/PKI, we capture a moral message about the gripping culture of a society that has suffered from chronic and traumatic historical wounds for so long. Through this film, we find a picture of power that appears as an “interpretation regime”, which monopolizes and controls the interpretation of the world of signs and symbols, namely the G30S/PKI film, so that the truth is bent for the sake of political propaganda. With a qualitative method, this paper intends to construct emancipatory meanings through reading films that speak of small narratives that function as trauma healers, and whose presence becomes an opponent for the domination of the big narratives of a nation's history. The results of this study confirm that the trauma passed down from generation to generation is faced not by running from it, but rather by facing it, re-watching it, making it a mirror of our own modesty in the past. It can be concluded that the narrative of a film is a means to restore spiritual shame, so that we can appreciate the shame of failing before God, to be restored and empowered again as a new human being.

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Sachschal, Juliane, Elizabeth Woodward, Julia M. Wichelmann, Katharina Haag, and Anke Ehlers. "Differential Effects of Poor Recall and Memory Disjointedness on Trauma Symptoms." Clinical Psychological Science 7, no. 5 (May 23, 2019): 1032–41. http://dx.doi.org/10.1177/2167702619847195.

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Clinical theories of posttraumatic stress disorder (PTSD) suggest that trauma memories are disorganized. In the present study, we examined how trauma-film exposure affects two aspects of memory disorganization, poor memory recall and memory disjointedness, and their relationship to PTSD-like symptoms. In Session 1, 90 healthy participants were exposed to a trauma ( n = 60) or a neutral film ( n = 30). Cognitive processing styles, memory characteristics, and intrusive memories of the film were assessed. The trauma-film group reported greater memory disjointedness of the worst moments of the film but better memory recall of the film than the neutral-film group. In the trauma-film group, cognitive processing and memory disjointedness were related to intrusive memories and PTSD-like symptoms in the week after film exposure. Memory disjointedness but not poor memory recall mediated the relationship between cognitive processing and intrusions. The findings suggest that different aspects of memory disorganization need to be distinguished to explain PTSD symptoms.

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Ramírez, Gracia. "Retrieving trauma, overcoming trauma: Erice’s cinematic poetics." Short Film Studies 9, no. 2 (April 1, 2019): 203–6. http://dx.doi.org/10.1386/sfs.9.2.203_1.

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This article examines Haunted Memory’s overall structure and how the voice-over commentary both caresses the images as treasured objects and inscribes new meaning. Thus, the video essay goes beyond paying homage to the celebrated film director and considers the universality of the experiences of trauma and cinema.

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Kristensen, Lars, and Christo Burman. "Painful Neutrality: Screening the Extradition of the Balts from Sweden." Baltic Screen Media Review 6, no. 1 (December 1, 2018): 72–92. http://dx.doi.org/10.2478/bsmr-2018-0005.

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Abstract The article deals with the extradition of Baltic soldiers from Sweden in 1946 as represented in Per Olov Enquist’s novel The Legionnaires: A Documentary Novel (Legionärerna. En roman om baltutlämningen, 1968) and Johan Bergenstråhle’s film A Baltic Tragedy (Baltutlämningen. En film om ett politiskt beslut Sverige 1945, Sweden, 1970). The theoretical framework is taken from trauma studies and its equivalent within film studies, where trauma is seen as a repeated occurrence of a past event. In this regard, literature and moving images become the means of reaching the traumatic event, a way to relive it. What separates the extradition of the Baltic soldiers from other traumas, such as the Holocaust, is that it functions as a guilt complex related to the failure to prevent the tragedy, which is connected to Sweden’s position of neutrality during World War II and the appeasement of all the warring nations. It is argued that this is a collective trauma created by Enquist’s novel, which blew it into national proportions. However, Bergenstråhle’s film changes the focus of the trauma by downplaying the bad conscience of the Swedes. In this way, the film aims to create new witnesses to the extradition affair. The analysis looks at the reception of both the novel and film in order to explain the two different approaches to the historical event, as well as the two different time periods in which they were produced. The authors argue that the two years that separate the appearance of the novel and the film explain the swing undergone by the political mood of the late 1960s towards a deflated revolution of the early 1970s, when the film arrived on screens nationwide. However, in terms of creating witnesses to the traumatic event, the book and film manage to stir public opinion to the extent that the trauma changes from being slowly effacing to being collectively ‘experienced’ through remembrance. The paradox is that, while the novel still functions as a vivid reminder of the painful aftermath caused by Swedish neutrality during World War II, the film is almost completely forgotten today. The film’s mode of attacking the viewers with an I-witness account, the juxtaposition and misconduct led to a rejection of the narrative by Swedish audiences.

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Cresswell, Mark, and Zulfia Karimova. "‘Misfortune's Image‘: The Cinematic Representation of Trauma in Robert Bresson's Mouchette (1967)." Film-Philosophy 17, no. 1 (December 2013): 154–76. http://dx.doi.org/10.3366/film.2013.0009.

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Rutherford, Anne. "Film, trauma és az enunciatív jelen." Apertura 15, no. 3 (2020): 1–24. http://dx.doi.org/10.31176/apertura.2019.15.3.1.

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A traumakutatások azon kísérlete, hogy az atrocitásokról részletes beszámolót adjon, kudarcra van ítélve a trauma kimondhatatlan és elképzelhetetlen jellege miatt, ami a tapasztalat és a nyelv közti szakadékra is rámutat. Ez a megközelítés ugyanakkor a túlélők fájdalma iránt is érzéketlen, akiket a közönség tagjaiként újra traumatizálhat a beszámoló. A tanulmány a traumával való munka alternatív lehetőségeire mutat rá, melyeknek alapja az etikai megközelítés, a túlélők iránti törődés, a reprezentáció többszólamú formái és az érzéki és affektív eszközökön keresztül a karakterekhez való érzelmi ragaszkodás. Ezek a verbalitáson kívüli lehetőségek a nézőket más szinten vonják be, és a megtestesült, érzéki és/vagy affektív élményen keresztül hoznak létre elköteleződést. A tanulmány két filmet elemez. A Bashu, a kis idegen (Bahram Beyzai, 1986) fikciója a gyerekszereplőn keresztül állítja munkába a szomatikus regisztert. A Puisi Tak Terkuburkan (Garin Nugroho, 1999) stilizált indonéz dokumentumfilmben a túlélő egyszerre színész és tanú, a hagyományos, énekelt vers és az újrajátszás által teszi összetettebbé a néző tapasztalatát.

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Blacksin, Marcia, and Frank Alberta. "Cervical Vertebral Trauma: Plain Film Approach." Seminars in Musculoskeletal Radiology 2, no. 01 (1998): 5–18. http://dx.doi.org/10.1055/s-2008-1080084.

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Skitol, Lissa. "Afterimage: Film, Trauma, and the Holocaust." Psychoanalysis, Culture & Society 10, no. 2 (August 2005): 216–19. http://dx.doi.org/10.1057/palgrave.pcs.2100052.

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Sutandio, Anton. "Cinematic Representation of Chinese-Indonesians’ Trauma in Jason Iskandar The Day The Sky Roared." Lingua Cultura 13, no. 4 (November 27, 2019): 275. http://dx.doi.org/10.21512/lc.v13i4.6000.

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This research analyzed a contemporary independent Indonesian film entitled The Day the Sky Roared (2015) that was directed by Jason Iskandar. This 10-minute silent film talked about the anxiety of Chinese-Indonesians through the eyes of a mother and her daughter regarding the historical trauma of the May 1998 tragedy. The fact that the film was produced about 17 years after the tragedy suggested the director’s awareness that the trauma remained due to the absence of reconciliation and closure. This research would show how the short film frames the incident and trauma of the Chinese-Indonesians. The research was a combination of trauma studies and film studies that focuses on the visual analysis of the film’s cinematography and mise-en-scene to show the cinematic representation of Chinese-Indonesians’ trauma. The findings show that the portrayal of Chinese-Indonesians still strongly suggests unrelieved psychological discomfort, albeit, at different levels, that is closely related to the traumatic past and the pervasive stereotyping of Chinese-Indonesians.

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Safitri, Meidiana, Tanto Harthoko, and Andri Nur Patrio. "Produksi Film Animasi 2D Pool." Journal of Animation and Games Studies 6, no. 2 (October 15, 2020): 141–50. http://dx.doi.org/10.24821/jags.v6i2.4405.

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The story of a boy named Boy who is trying to overcome his trauma to a swimming pool. Trauma is the result of a terrible experience that has occurred during life. With a long recovery time, a trauma sufferer always imagines bad events and some traumatic symptoms that is difficult to overcome. Therefore, the character needs the support of the closest people to recover slowly. The creation of 2D animated film "Pool" using direct frame by frame technique in animation creation software. All manufacturing processes from production to post-production use digital media and produce an animated film with duration of 2 minutes.

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Van Zandt, Samantha. "The Triumph of Trauma: Tarantino Style." Film Matters 12, no. 2 (September 1, 2021): 111–17. http://dx.doi.org/10.1386/fm_00158_7.

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In Kill Bill Vol. 1 and 2, Quentin Tarantino uses thematic symbolism to demonstrate the evolution of the film’s characters by assigning them code names. Each character’s code name is a different species of snake or is related to snakes: Black Mamba, Copperhead, Cottonmouth, Sidewinder, California Kingsnake, and Snake Charmer. Their aliases are a few examples of Easter eggs concealed in the films. The code names portray aspects of their character and the story of their growth as individuals. The protagonist, Beatrix Kiddo undergoes numerous aliases and evolves throughout the film through her recovery from immense trauma.

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Erina, Ahdania Asti, and Lisda Liyanti. "Normalisasi Hubungan Jerman dan Yahudi Melalui Penyembuhan Trauma Sejarah dalam Film The Zookeeper’s Wife." SOSIOHUMANIORA: Jurnal Ilmiah Ilmu Sosial Dan Humaniora 6, no. 2 (August 1, 2020): 1. http://dx.doi.org/10.30738/sosio.v6i2.6711.

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This study discusses trauma healing through the film "The Zookeeper's Wife" which was adapted from a novel by Dianne Ackerman and directed by Niki Caro as a way to normalize the relations between Germans and Jews. The purpose of this study was to identify the signs in the film which can be used as a healing from historical trauma due to the holocaust. This study uses qualitative method with data in the form of data extraction that has been taken from the film "The Zookeeper's Wife." Using Charles Sanders Pierce’s semiotic theory and Trauma theory by some experts, the outcome of this research shows that there are two elements for healing historical trauma, namely the trauma healing of Urszula, a Jewish girl and the trauma healing of German that leads to German-Jewish normalization.

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Hafezi, Niloufar, Barrett P. Cromeens, Bryant S. Morocho, Jodi L. Raymond, and Matthew P. Landman. "Thoracostomy Tube Removal in Pediatric Trauma: Film or No Film?" Journal of Surgical Research 269 (January 2022): 51–58. http://dx.doi.org/10.1016/j.jss.2021.06.072.

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Szwarc Zając, Anna. "Nauczanie treści związanych z Holokaustem w szkole podstawowej." Kultura i Wychowanie 20, no. 2 (April 2022): 163–84. http://dx.doi.org/10.25312/2083-2923.20/2021_11aszz.

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Celem artykułu jest wykazanie, jak ważny jest dobór metod i technik podczas przekazywania wiedzy historycznej, w sposób szczególny Holokaustu dzieciom i młodzieży, w taki sposób, aby nie doświadczyły traumy. Autorka skupiła się na pedagogicznym spojrzeniu na traumę, czym ona jest. Skoncentrowała się również na (ogromnej) roli nauczyciela, którego zadaniem jest dbanie o higienę psychiczną ucznia. Przedstawione zostały teksty literackie dopasowane do wieku uczniów oraz sposoby ich omawiania, oraz znaczna część artykułu została poświęcona filmowi. Autorka omówiła tam kilka produkcji, które nie były wyświetlane w kinach, jednak posiadają one ogromny walor edukacyjny i artystyczny. Słowa kluczowe: holokaust, nauczyciel, edukator, trauma, teksty literackie, film, psychika ucznia, metody i techniki przekazywanie wiedzy historycznej

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Kubota, Rie, and Reginald D. V. Nixon. "An Analogue Investigation into the Effect of Trauma-related Rumination on Trauma Intrusions and the Moderating Role of Trait Rumination and Depression." Journal of Experimental Psychopathology 8, no. 4 (October 31, 2017): 413–42. http://dx.doi.org/10.5127/jep.058516.

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Trauma-related rumination is considered one cognitive process that underlies the maintenance of posttraumatic stress. However experimental findings for the effect of trauma-related rumination have been inconclusive and a moderating role of trait rumination has been speculated. Further, existing depression may also interact with trauma-related rumination to increase posttraumatic stress symptoms. The roles of trauma-related rumination, trait rumination and existing depression were therefore investigated. Healthy female participants watched an analogue trauma film and completed either film-related rumination or control inductions involving a distraction and free-thinking task in the first and second experiments, respectively. Participants' frequency of film-related intrusions and associated distress levels were assessed within the initial experimental session, over 1-week after the film and at 1-week follow-up. Induced rumination resulted in greater intrusion-related distress in the second experiment. However no consistent moderations of trait rumination and existing depression were found. Theoretical and clinical implications of findings are discussed.

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Aini, Aulia Putri Nur, Dwidya Syawaly, and Dimas Putra. "Sebuah Kisah Tentang May: Representasi Trauma Coping dalam Film 27 Steps of May." Tuturlogi 2, no. 2 (May 10, 2021): 155–67. http://dx.doi.org/10.21776/ub.tuturlogi.2021.002.02.5.

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Movies have many genres, and every film lover certainly has different genre interests. In a film also displays various representations of events, gender, or groups. Like the 27 Steps of May which represents the trauma experienced by a person. Trauma is a very dangerous thing for human life. Trauma itself can arise when a person experiences violence, sexual harassment, and threats that come individually. Trauma can happen to anyone at any time. This study aims to analyze how the depiction of trauma coping in the film 27 Step of May. This study used a qualitative descriptive study with Stuart Hall's semiotic approach where it analyzed data that explained the meaning of the sign through the meaning of denotation, connotation and myth. The results of this study represent how May's healing or coping process was done to get rid of the dark trauma she had experienced for eight years. The trauma arose because May was sexually abused until she finally found a bright spot and met a magician.

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Lowenstein, Adam. "Living Dead: Fearful Attractions of Film." Representations 110, no. 1 (2010): 105–28. http://dx.doi.org/10.1525/rep.2010.110.1.105.

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This essay analyzes the relationship between fear and film by exploring the theoretical concept of "attractions" and its value for a historical understanding of three seminal American horror films directed by George A. Romero: Night of the Living Dead (1968), Land of the Dead (2005), and Diary of the Dead (2008). All three films belong to the same "Living Dead" series, so the essay focuses especially on their shared temporal relations to historical trauma through issues of deferral, belatedness, and retranscription.

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Spallacci, Amanda. "Representing Rape Trauma in Film: Moving beyond the Event." Arts 8, no. 1 (January 9, 2019): 8. http://dx.doi.org/10.3390/arts8010008.

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Trauma theorists foreground the unrepresentability of trauma; however, with modern innovations in visual representation, such as the photograph and cinema, depictions of trauma have begun to circulate across different mediums for a variety of audiences. These images tend to problematically present the traumatic event rather than the effects of trauma, such as traumatic memory. Specifically, some contemporary Hollywood popular films and television series that include rape as their subject matter often include a rape scene that can evoke affects such as disgust or empathy, and while these affects can last the duration of the film, they fail to shift popular discourses about rape because affect is more productive when it focuses on effects instead of events. As trauma studies has shifted to memory studies in the Humanities, and rape has become more prominent in popular culture through the circulation of personal testimony on social media and memoir, depictions of rape in cinema have slowly started to change from presentations of rape scenes to representations of rape trauma that highlight different affects, such as shame. Using Monster (2003), Girl with the Dragon Tattoo (2011), Room (2015), and the television series, 13 Reasons Why (2017) and Sharp Objects (2018) as case studies, this paper argues that, for an audiovisual depiction of rape to shift popular discourses about rape, it would have to function rhetorically to widen the cultural understanding of rape trauma beyond the event, and demonstrate that rape trauma should be understood as part of the personal, unconscious, cultural, and visual mediation of traumatic memory.

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Lowenstein, Adam. "Horror, Trauma, and George A. Romero’s Martin (1978)." English Language Notes 59, no. 2 (October 1, 2021): 9–19. http://dx.doi.org/10.1215/00138282-9277227.

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Abstract This essay analyzes how George A. Romero, in his underrated psychological vampire film Martin, translates individual trauma (slow, process-based, unrecognized) into collective trauma (sudden, event-based, recognized) through a vocabulary of horror. The language of trauma spoken by Martin is not the one we expect from the horror film, with its traditional investments in fantastic spectacle. Instead, it is a language that combines horror’s fantastic vocabulary and documentary’s realist vocabulary in ways that undermine our attempts to distinguish between the two modes. Romero’s vision urges us to see catastrophe where we are accustomed to seeing only the mundane, and collective trauma where we routinely see only individual trauma. In Martin’s version of horror, the economic decline of Braddock, Pennsylvania, is paired with trauma connected to the Vietnam War and immigration. The film moves between these coordinates to revisualize the distinctions that divide the fantastic from the real as well as the individual from the collective.

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Tracy, Maurice. "Moving through Trauma: Black Queer Vulnerability in Moonlight." QED: A Journal in GLBTQ Worldmaking 9, no. 1 (February 1, 2022): 43–57. http://dx.doi.org/10.14321/qed.9.issue-1.0043.

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Abstract In this essay I look at Barry Jenkins’ film Moonlight and reflect upon how the film employs trauma and the anticipation of trauma to develop a complex depiction of Black cismale identity informed by Black queer masculinity rooted in tenderness, caring, and vulnerability.

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Gaffney, Donna A., and Tamara Pollak. "Telling Trauma Stories: The Power of Film." Journal of Forensic Nursing 2, no. 2 (June 28, 2008): 96–98. http://dx.doi.org/10.1111/j.1939-3938.2006.tb00066.x.

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Gaffney, Donna A., and Tamara Pollak. "Telling Trauma Stories: The Power of Film." Journal of Forensic Nursing 2, no. 2 (June 2006): 96–98. http://dx.doi.org/10.1097/01263942-200606000-00009.

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Mocci, Maria Lucia. "Cinema, PTSD e trauma in etŕ evolutiva." IPNOSI, no. 1 (August 2011): 69–74. http://dx.doi.org/10.3280/ipn-2011-001009.

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Si propongono due film che offrono al clinico la possibilitŕ di confrontarsi col concetto di trauma in etŕ evolutiva, poiché affrontano da angolature di differente complessitŕ il PTSD (Post Traumatic Stress Disorder)., film del 2008 di Michael Winterbottom, ci presenta, attraverso la storia di una famiglia, il manifestarsi e l'evolversi nella figlia minore del PTSD come da manuale diagnostico., film del 2004 di Gregg Araki, tratto dall'omonimo romanzo di Scott Heim, ci porta in modo molto intenso, a tratti crudo, attraverso le vicende parallele e contemporaneamente perpendicolari di due adolescenti, a riflettere sui limiti dei manuali nel considerare l'essenza della parola trauma, dal greco,indicante una, unae sui possibili esiti che il trauma vissuto in etŕ infantile puň avere nel tempo.

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Woodward, Matthew J., and J. Gayle Beck. "Using the trauma film paradigm to explore interpersonal processes after trauma exposure." Psychological Trauma: Theory, Research, Practice, and Policy 9, no. 4 (July 2017): 445–52. http://dx.doi.org/10.1037/tra0000169.

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Dakovic, Nevena. "Cinematic narratives of Sonderkommando: Son of saul or narrating the victim, perpetrator, trauma and death." Temida 19, no. 3-4 (2016): 477–92. http://dx.doi.org/10.2298/tem1604477d.

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The aim of this paper is to map out - by analysing the film Son of Saul, but also by its comparison with two other films dealing with the topic, Himmelkommando and The Grey Zone, the narrative mechanism that satisfies the complex ethical and aesthetical demands imposed by the theme of Sonderkommando as the particular episode of the Holocaust. The key element of the narrative structure is the construction of the Levi?s ?dead and drowned? witness who ?resurrected? through the narrative intervention becomes the only reliable and credible narrator of the historical trauma. The prerequisite for his emergence is the narration and representation of the death which makes but also solves the traumatised - understood as multiple, fragmented, opposed - identities of the members of the special squad. Their entangled identity involves the simultaneous presence of a victim, perpetrator, witness and the authentic narrator of the trauma of the death camp. The death of the perpetrator is the condition sina qua non for the emergence of the figure of the victim-witness narrator but also for making of narrative which overcomes the initial trauma of the Holocaust. The detailed analysis of the film Son of Saul confirms and identifies these narratives as the modernist narration of the post-traumatic film.

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Sutandio, Anton. "The Return of the Repressed: Pemuda and the Historical Trauma in Rizal Mantovani and Jose Purnomo’s Jelangkung." Plaridel 12, no. 2 (August 30, 2015): 131–48. http://dx.doi.org/10.52518/2015.12.2-06stndio.

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Being the first horror film produced after the Reformation period, Rizal Mantovani and Jose Purnomo’s Jelangkung (2001) played an important role in resurrecting the horror genre. As a commercially successful film, it became the blueprint for horror films produced afterwards. It challenged the New Order horror narrative pattern, introducing significant changes such as the shift towards pemudas or the youth as the central characters in the film, the absence of a patriarchal figure, and the open ending. These changes could well have been influenced by trends in global horror cinema, but for Indonesian films specifically, on the allegorical level, they have been able to effectively capture the anxiety and fear pemudas felt during the Reformation, especially about what it means to be a young Indonesian in post-Soeharto times. This study explores the allegorical function of this contemporary Indonesian horror film, focusing on how Jelangkung represents “the return of the repressed” through what Lowenstein (2005) calls “allegorical moments.” It also attempts to locate these moments in Jelangkung, contextualizing the return of the repressed as the fear and anxiety toward the unresolved May 1998 traumatic event in Indonesia and the existing patriarchal system.

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Pinchevski, Amit. "Screen Trauma: Visual Media and Post-traumatic Stress Disorder." Theory, Culture & Society 33, no. 4 (December 11, 2015): 51–75. http://dx.doi.org/10.1177/0263276415619220.

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Recent studies in psychiatry reveal an acceptance of trauma through the media. Traditionally restricted to immediate experience, Post-traumatic Stress Disorder (PTSD) is now expanding to include mediated experience. How did this development come about? How does mediated trauma manifest itself? What are its consequences? This essay addresses these questions through three cases: (1) ‘trauma film paradigm’, an early 1960s research program that employed films to simulate traumatic effects; (2) the psychiatric study into the clinical effects of watching catastrophic events on television, culminating with the September 11 attacks; (3) reports on drone operators who exhibit PTSD symptoms after flying combat missions away from the war zone. The recognition of mediated trauma marks a qualitative change in the understanding of media effects, rendering the impact literal and the consequences clinical. What informs recent speculations about the possibility of trauma through media is a conceptual link between visual media and contemporary conceptions of trauma.

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Waterson, Roxana. "Testimony, trauma and performance: Some examples from Southeast Asian theatre." Journal of Southeast Asian Studies 41, no. 3 (September 7, 2010): 509–28. http://dx.doi.org/10.1017/s0022463410000287.

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This paper is a reflection on a number of theatre performances held in Singapore, each of which probed problematic or traumatic historical events occurring either in Singapore itself or in other parts of Southeast Asia. These avant-garde performances were inspired by or built around actual testimonies of individuals in ways which, for this author, suggest a striking fluidity in the boundaries between testimony and performance, one that raises difficult questions about performance ethics and the processes by which collective memories are shaped. The plays also made use of visual media: one had been recorded on video while others incorporated photographic and video materials into the actual performance. At the time I witnessed these plays, I had already become interested in the way that, over the course of the twentieth century, documentary films had come to play an increasingly important role in the recording of testimony concerning traumatic events. Testimony on film, I have argued, functions simultaneously as evidential trace, and as performative event. Films of testimony develop their own trajectories as they enter into the realms of public remembering. They preserve and extend the record of personal experiences, thereby adding them to the pool of collective memory about an event. Theatrical performances, too, develop their own trajectories through repetition, as Marvin Carlson's statement (cited above) suggests. But what exactly might be different when testimony is performed as drama before a live audience? What are the purposes of such performances, and what might be their possible effects upon both participants and audiences? Is the trace left by a live theatre performance inevitably more ephemeral than those captured on film, or might it be in some respects even more powerful? These are some of the questions I raise – without necessarily being able to present definitive answers – in what follows. I conclude by arguing that in the Singapore context, because censorship laws place very specific constraints on the making of documentary films with openly political content, in recent years theatre has been able to offer a slightly greater space than film as a medium for critical reflection. How theatre directors and actors have tried to use this space is a subject correspondingly deserving of our close attention.

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Mustaffa, Rifki Zamzam, Aquarini Priyatna, and Ari J. Adipurwawidjana. "TECHNOLOGIZING METAPHOR, DEMYSTIFYING TRAUMA: ALLEGORY IN THE FILM 27 STEPS OF MAY." Jurnal Sosioteknologi 20, no. 2 (August 31, 2021): 238–48. http://dx.doi.org/10.5614/sostek.itbj.2021.20.2.9.

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This article aims at elaborating the issues of trauma, violence against women and their agencies depicted in Indonesianfilm entitled 27 Steps of May. By situating the issues within the theoretical framework combining theories on allegoryand metaphor as elaborated by Jameson (2006), and Jakobson (1956), as well as theoretical premises pertaining to filmtechnology by Turner (2002), this study shows how film as a form of narrative texts can visualize those issues throughavailable technological features (camera techniques and mise-en-scene). Our close reading finds that the film presentsmetaphors of rape, women agency, amnesia and trauma through the presentation of the characters (May, Bapak, Pesulapand Kurir), also the mise-en-scene in its scenes. We argue that this film visualizes an allegory of national trauma inrelation to Indonesian May 1998 riots, specifically the violence towards marginalized groups (Chinese and women),which also represents the Indonesian collective expectation in acknowledging the national trauma jointly.

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Antico, Chiara. "“The Wisdom of Trauma”." Zeszyty Pracy Socjalnej 27, no. 1 (2022): 7–9. http://dx.doi.org/10.4467/24496138zps.22.003.15710.

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Psychological reflections based on the film “The Wisdom of Trauma” directed by Maurizio Benazzo and Zaya Benazzo and released in 2021. The story presented in the documentary shows the fragility of a person’s life with the experience of trauma. Professionals working with addicts explain what the wisdom of trauma is, how people and their bodies cope with traumatic experiences, and what suffering brings to the lives of those in need of support.

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Runions, Erin. "Inherited Crypts of the Wife/Mother: Ang Lee's Hulk Meets Zechariah 5:5–11 in Contemporary Apocalyptic Discourse." Biblical Interpretation 14, no. 1-2 (2006): 127–42. http://dx.doi.org/10.1163/156851506776145779.

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AbstractThis paper puts the political concerns expressed by secular apocalypse in Ang Lee's Hulk (2003) into conversation with the political concerns expressed by religious apocalypse in conservative Christian discourse. The film sets a revised version of the Akedah, in which the wife/mother is killed instead of the son, at the heart of its plot and of its critique of U.S. foreign policy. Set within Lee's apocalyptic analysis of repressed trauma, this quasi-biblical allusion points toward the repeating biblical tradition of the murdered wife/mother. One such repetition of this originary trauma can be found in what Diana Edelman has argued to be Yahweh's murder of his wife Asherah in Zechariah 5:5-11, a text which can be read in the same psychoanalytic terms that the film evokes. Both film and text represent the missed encounter of trauma and the entombment of the lost love object. In both film and text, the lost object, the mother, is entombed, encrypted and forgotten. But because this proto-apocalyptic text is one that conservative Christians take up in their defence of the war on Iraq as the precursor to the doomed Whore of Babylon, this text, uncannily, brings the film into contact with its religious apocalyptic roots. But where the biblical text is read in ways that only increase a violent repetition compulsion, the film models mourning and letting go as a way of working through the trauma. Thus, the film offers an alternate way of reading the biblical text in culture.

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Jahn-Sudmann, Andreas. "Lisa Gotto: Traum und Trauma in Schwarz-Weiß. Ethnische Grenzgänge im amerikanischen Film." Publizistik 52, no. 3 (September 2007): 426–27. http://dx.doi.org/10.1007/s11616-007-0198-4.

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Elegbe, Olugbenga. "Women Trauma and Stereotype Tradition in Tunde Kelani’s Film, Thunderbolt." CINEJ Cinema Journal 6, no. 2 (April 25, 2018): 144–64. http://dx.doi.org/10.5195/cinej.2017.176.

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Stereotype tradition and gender injustice constitute the trauma that majority of women face in the marital relationship in Yoruba cultural setting. These issues was explore in Tunde Kelani’s film, Thunderbolt (Magun). Employing the narrative content analysis technique the film reveals various issues relating to women trauma in Yoruba stereotype tradition which empowers men against women. Suspicion, cultural chauvinism, betrayal, ambition, poor communication, lack of trust, wrong accusation and dominance constitute conflicts between couples in the film. This shows that the issue of conflict and gender injustice against women is a common traits in Yoruba cultural setting. The film is a lesson on many unresolved conflicts in marriages relationships while proposing trust and open communication which will improve and contribute to positive conjugal relationship development.

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DINERSTEIN, JOEL. "“Emergent Noir”: Film Noir and the Great Depression in High Sierra (1941) and This Gun for Hire (1942)." Journal of American Studies 42, no. 3 (December 2008): 415–48. http://dx.doi.org/10.1017/s0021875808005513.

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This article theorizes a new periodization for film noir through a prewar category of “emergent noir”: seven films released between 1940 and 1942 – including The Maltese Falcon and Citizen Kane – that defined the genre's thematics, aesthetics, visual style, and moral ambiguity. Using archival research and trauma theory, the article analyzes High Sierra and This Gun for Hire as case studies of “failure narratives”: each film resonated with American audiences by validating the recent suffering of the Great Depression, allowing for a vicarious sense of revenge, and creating new ideals of individuality and masculinity. Both films were surprise box-office hits and created new film icons for the 1940s: Humphrey Bogart, Alan Ladd, and Veronica Lake. All three were embodiments of “cool,” a concept herein theorized as a public mask of stoicism.

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Mhando and Tomaselli. "Film and Trauma: Africa Speaks to Itself through Truth and Reconciliation Films." Black Camera 1, no. 1 (2009): 30. http://dx.doi.org/10.2979/blc.2009.1.1.30.

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Oliveira, Amanda de. "Slasher therapy: the slasher movie as an allegory for uncovering trauma." Literartes 1, no. 15 (December 21, 2021): 199–214. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2021.187620.

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This study aims at analyzing slasher films as potential allegories for the therapeutic process of uncovering trauma, proposing a reading of the slasher killer as a metaphor for the trauma. To perform this analysis, the plots of the movies A Nightmare on Elm Street (Bayer, 2010) and Final Girls (Schulsson, 2015), were read as possible allegories for a psychoanalytical process in which their final girls come to terms with trauma as they face the killers. This analysis is performed based on the slasher film structure as composed by Final Girl versus Slasher killer, as defined by Carol Clover (1992), and, as their confrontation takes place in what Clover calls the Terrible place, that is compared to the unconscious and its dynamics, as proposed by Sigmund Freud’s The Ego and the Id (2019). The correlation of trauma and fictional narratives is performed based on Cathy Caruth’s (1996) studies of trauma and the construction of narratives.

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Briciu, Bianca. "Compassion and trauma in affective witnessing: The case of A Private War." International Journal of Media & Cultural Politics 18, no. 1 (March 1, 2022): 47–61. http://dx.doi.org/10.1386/macp_00057_1.

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This article analyses the architecture of affective witnessing in the biographical film, A Private War (Michael Heineman 2018), representing the life and work of famous war correspondent, Marie Colvin. Focusing on the self-reflexive representation of affective witnessing in the film, the article discusses the ethical aspects of compassion in war reporting and the politics of trauma and moral injury with their dangerous impact on the life of the protagonist. Affective witnessing implies an ethical position of compassion and responsibility for the victims of war, but it also implies various levels of trauma, with maladaptive effects on the psyche of war correspondents. The analysis of the film is the basis for a theoretical exploration of the affective practice of witnessing and the dangers of trauma and moral injury that accompany the work of war journalists.

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Mączko, Małgorzata. "Black Lives Matter on Screen: Trauma of Witnessing Police Brutality in Contemporary American Cinema." New Horizons in English Studies 6 (October 10, 2021): 190–204. http://dx.doi.org/10.17951/nh.2021.6.190-204.

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In the years following the emergence of the Black Lives Matter movement, American cinema was looking for a way to appropriately address the issue of police brutality against people of color. Filmmakers, often inspired by real-life events, began developing stories focused on the trauma of witnessing lethal police violence. Three films released in 2018 – Blindspotting (dir. Carlos López Estrada), Monsters and Men (dir. Reinaldo Marcus Green) and The Hate U Give (dir. George Tillman Jr.)– emphasize how the aftermath of such experiences affects young people of color and their communities. This article aims to explore the role of witness testimony in trauma-centered narratives and examine how the contemporary American cinema visualizes racial trauma. To achieve that, the films will be analyzed within the context of trauma studies, including theories regarding both individual and cultural trauma. Moreover, studies focused on the socialization of Black children will help demonstrate the transgenerational impact of trauma. All three films share common motifs: they represent the psychosomatic aspects of trauma through similar cinematic techniques and see value in witness testimony, even if it requires personal sacrifices from the protagonists. They also portray parents’ worry about their children’s future within a prejudiced system and the struggle to prepare them for it. All these issues have been previously addressed in the public and academic discourse and are now being reflected in cinema. Film proves to be a suitable medium for representing trauma of witnessing police brutality and cinema will most likely remain a vital part of the debate about dismantling racist systems for years to come.

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Tambunan, Shuri Mariasih Gietty. "Prosthetic memory: Re-creating the experience of trauma in Iñárritu’s 11'09''01." EduLite: Journal of English Education, Literature and Culture 4, no. 2 (September 4, 2019): 226. http://dx.doi.org/10.30659/e.4.2.226-235.

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9/11 will always be a traumatic experience not only for Americans but also for the rest of the world. This trauma has been re-articulated in a number of mass culture or popular culture products, such as novels or films. As argued by Landsberg (2004), mass culture could be used to attract the public in making sense of history, memory, politics and identity, including traumatic moments. In this article, the chosen case, a short film by Iñárritu’s entitled 11'09''01 shows how a cultural product intended for the masses has the potentials to change the structure of memory construction. The film has been criticized to be focusing on the traumatic aspect and do not highlight the heroic discourse, which was the most celebrated notion of the 9/11 tragedy. As the most experimental entry, this article argues that the short film among the others in the same project represents an effort to empathize with the pain felt on that day by utilizing ‘authentic’ materials, such as segments of media broadcasts from all over the world and recordings of the victims’ last phone calls to their loved ones. It also uses the images of people falling or jumping from the two towers leading into the ethical challenges for the cinematic documentation of a traumatic event, which will also be discussed in this article. The main method of analysis is textual analysis and Landsberg’s conceptualization of Prosthetic Memory is used to interpret the data. The article concludes that the short film could be seen as a Transferential Space in transferring memories of 9/11 to the audience who might not have experience it directly.

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박인영. "Representation of Women’s Trauma through Flashbacks in Film." Contemporary Film Studies 13, no. 2 (May 2017): 185–213. http://dx.doi.org/10.15751/cofis.2017.13.2.185.

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West‐leuer, Beate. "Film Essay Colonial aggression and collective aggressor trauma." International Journal of Psychoanalysis 90, no. 5 (October 2009): 1157–68. http://dx.doi.org/10.1111/j.1745-8315.2009.00179.x.

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Wu, Harry Yi-Jui. "The long walk home: trauma psychiatry on film." Lancet Psychiatry 4, no. 5 (May 2017): 361–62. http://dx.doi.org/10.1016/s2215-0366(17)30146-3.

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Bhubaneswari, T. S., and Ajeet Singh. "Irony as Trauma & Trauma as Irony in Claude Lanzmann’s Shoah." Contemporary Research: An Interdisciplinary Academic Journal 3, no. 1 (December 31, 2019): 67–71. http://dx.doi.org/10.3126/craiaj.v3i1.27492.

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Claude Lanzmann makes use of what this essay posits as metairony which dramatizes the shocks of the acting out of the trauma of the Holocaust. The film director makes the survivors and witnesses and the viewers to become retraumatized and to relive the past. By so doing, the traumatized mind can cope with the trauma because acting out helps the reflective consciousness to prevent itself from being overwhelmed by shock, in Walter Benjamin’s assumption, by reproducing shock, that is, by seizing upon each traumatic moment and parrying it - in effect, by responding to violence with violence. Testimonies in Shoah break the boundary between the experience of shock and experience as shock.

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Das, R. K., A. Tamman, V. Nikolova, T. P. Freeman, J. A. Bisby, A. I. Lazzarino, and S. K. Kamboj. "Nitrous oxide speeds the reduction of distressing intrusive memories in an experimental model of psychological trauma." Psychological Medicine 46, no. 8 (March 4, 2016): 1749–59. http://dx.doi.org/10.1017/s003329171600026x.

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BackgroundPost-traumatic stress disorder (PTSD) involves maladaptive long-term memory formation which underlies involuntary intrusive thoughts about the trauma. Preventing the development of such maladaptive memory is a key aim in preventing the development of PTSD. We examined whether the N-methyl d-aspartate receptor (NMDAR) antagonist gas nitrous oxide (N2O) could reduce the frequency of intrusive memories by inhibiting NMDAR-dependent memory consolidation in a laboratory analogue of psychological trauma.MethodParticipants were randomized to inhale N2O (N = 25) or medical air (N = 25) after viewing a negatively valenced emotional film clip (‘trauma film’). Participants subsequently completed a daily diary assessing frequency of intrusive thoughts relating to the film clip. A week later, participants completed an explicit memory recall task related to the film.ResultsPost-encoding N2O sped the reduction in intrusive memory frequency, with a significant reduction by the next day in the N2O group compared to 4 days later in the air group. N2O also interacted with post-film dissociation, producing increased intrusion frequency in those who were highly dissociated at baseline. Sleep length and quality the night after viewing the film did not differ between the groups.ConclusionN2O speeds the reduction of intrusive analogue trauma memory in a time-dependent manner, consistent with sleep-dependent long-term consolidation disruption. Further research with this drug is warranted to determine its potential to inoculate against enduring effects of psychological trauma; however, caution is also urged in dissociated individuals where N2O may aggravate PTSD-like symptomatology.

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Journal articles on the topic 'Trauma film'

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