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Throughout the past century, traumatic experiences have been re-enacted frequently by evolving media and art forms. Now there is a significant body of theory across academic disciplines focused on the representation of cataclysmic European and US historical events. However, less critical attention has been devoted to the representation of havoc outside the West, even though depictions of Third-World disasters saturate contemporary media and art around the globe. This book considers traumatic histories internationally in a broad range of creative arts and visual media representations. Deploying diverse applications of the conventional theories of trauma, it examines the theoretical limitations at the same time as considering alternative methodologies. Interrogating Trauma is concerned with the examination of the concept of trauma, and how it is (often unproblematically) used to theorise the cultural representation of disaster and atrocity. It offers a theorisation of trauma, in order to reappraise the relationship between cultural representation and the socio-historical processes which are marked by violence, conflict and suffering. This book was published as a special issue of Continuum: Journal of Media and Cultural Studies.
This collection analyses the future of ‘trauma theory’, a major theoretical discourse in contemporary criticism and theory. The chapters advance the current state of the field by exploring new areas, asking new questions and making new connections. Part one, History and Culture, begins by developing trauma theory in its more familiar post-deconstructive mode and explores how these insights might still be productive. It goes on, via a critique of existing positions, to relocate trauma theory in a postcolonial and globalized world, theoretically, aesthetically and materially, and focuses on non-Western accounts and understandings of trauma, memory and suffering. Part two, Politics and Subjectivity, turns explicitly to politics and subjectivity, focussing on the state and the various forms of subjection to which it gives rise, and on human rights, biopolitics and community. Each chapter, in different ways, advocates a movement beyond the sort of texts and concepts that are the usual focus for trauma criticism and moves this dynamic network of ideas forward. With contributions from an international selection of leading critics and thinkers from the US and Europe, this volume will be a key critical intervention in one of the most important areas in contemporary literary criticism and theory.
This collection brings together case studies from the social sciences, such as clinical psychology and psychotherapy, as well as articles from the humanities that examine the aesthetics of trauma as represented in film, fiction, poetry, and the graphic novel.
In this book, Hertha D. Sweet Wong examines the intersection of writing and visual art in the autobiographical work of twentieth- and twenty-first-century American writers and artists who employ a mix of written and visual forms of self-narration. Combining approaches from autobiography studies and visual studies, Wong argues that, in grappling with the breakdown of stable definitions of identity and unmediated representation, these writers-artists experiment with hybrid autobiography in image and text to break free of inherited visual-verbal regimes and revise painful histories. These works provide an interart focus for examining the possibilities of self-representation and self-narration, the boundaries of life writing, and the relationship between image and text. Wong considers eight writers-artists, including comic-book author Art Spiegelman; Faith Ringgold, known for her story quilts; and celebrated Indigenous writer Leslie Marmon Silko. Wong shows how her subjects formulate webs of intersubjectivity shaped by historical trauma, geography, race, and gender as they envision new possibilities of selfhood and fresh modes of self-narration in word and image.
This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern bloc. As an aesthetic based on a productive interaction of media and highlighting cinema's relationship with the other arts, intermediality always implies a state of in-betweenness which is capable of registering tensions and ambivalences that go beyond the realm of media. The comparative analyses of films from Hungary, Romania, Poland, the Czech Republic, Bosnia and Herzegovina and Russia demonstrate that intermediality can be employed in this way as a form of introspection dealing with complex issues of art and society. Appearing in a variety of sensuous or intellectual modes, intermediality can become an effective poetic strategy to communicate how the cultures of the region are caught in-between East and West, past and present, emotional turmoil and more detached self-awareness. The diverse theoretical approaches that unravel this in-betweenness contribute to the understanding of intermedial phenomena in contemporary cinema as a whole.
This edited collection explores and develops representations of war experience from 1914 to the ongoing conflicts of the 21st century, through the specific lens of memory. It builds on recent explorations of the importance of war experience in shaping cultural memory that have focused on the aftermath of the First World War and the Second World War, particularly through Holocaust studies. These essays, by a range of international and interdisciplinary scholars, broaden the scope considerably, examining the alternate spaces of the First World War and those that followed it through a range of different media, offering an artistic trajectory to the centennial commemorations of 2014-18.
The present book aims to explore how the perpetrator of crimes against humanity is represented in recent documentary films in different sociocultural contexts around the world. In recent years the number of diverse forms of cultural productions focused on the figure of perpetrator has increased significantly, thus eliciting a turn toward this problematic figure. The originality of these narratives lies in the shift in point of view they propose: their protagonists, rather than being the victims of the atrocities, are instead their perpetrators. A significant number of documentary films examining crimes against humanity from the perpetrators’ perspective have been released in the first two decades of this century. This current tendency together with the growing scholarly interest in the explorations of the perpetrator underscore the timeliness of the present book. It aims to explore how the perpetrator is represented in recent documentary films in different sociocultural contexts around the world. The perpetrator documentary films’ objects of study in this book are contextualized in the following contexts: Indonesian, Cambodian and Rwandan genocides, Chilean and Argentine dictatorship, Spanish Civil War and its aftermaths, Israeli-Palestinian conflict, Nazi legacy, South Africa Apartheid and USA ́s state perpetrations. Among others, the documentary films analysed are as follows: The Act of Killing, The Look of Silence, S-21: The Khmer Rouge Killing Machine, National Bird, Fahrenheit 11/9, Waltz with Bashir, Z32, El Pacto de Adriana, El Color del Camaleón, 70 y Pico, and El hijo del cazador. The Representation of Perpetrators in Global Documentary Film will be a key resource for academics, researchers, and advanced students of Filmmaking, Communication Studies, Media Studies, Visual Studies, Cultural Studies, and Sociology. The chapters included in this book were originally published as a special issue of Continuum.
In Images of War in Contemporary Art, Uroš Cvoro and Kit Messham-Muir mount a challenge to the dominance of theoretical tropes of trauma, affect, and emotion that have determined how we think of images of war and terror for the last 20 years. Through analyses of visual culture from contemporary "war art" to the meme wars, they argue that the art that most effectively challenges the ethics and aesthetics of war and terror today is that which disrupts this flow-art that makes alternative perceptions of wartime both visible and possible. As a theoretical work, Images of War in Contemporary Art is richly supported by visual and textual evidence and firmly embedded in current artistic practice. Significantly, though, the book breaks with both traditional and current ways of thinking about war art-offering a radical rethinking of the politics and aesthetics of art today through analyses of a diverse scope of contemporary art that includes Ben Quilty, Abdul Abdullah (Australia), Mladen Miljanovic, Nebojša Šeric Šoba (Bosnia and Herzegovina), Hiwa K, Wafaa Bilal (Iraq), Teresa Margolles (Mexico), and Arthur Jafa (United States).
Comics, the Holocaust and Hiroshima breaks new ground for history by exploring the relationship between comics as a cultural record, historiography, memory and trauma studies. Comics have a dual role as sources: for gauging awareness of the Holocaust and through close analysis, as testimonies and narratives of childhood emotions and experiences.
When and under what circumstances are disaster survivors able to speak for themselves in the public arena? In Consuming Katrina: Public Disaster and Personal Narrative, author Kate Parker Horigan shows how the public understands and remembers large-scale disasters like Hurricane Katrina, outlining which stories are remembered and why, as well as the impact on public memory and the survivors themselves. Horigan discusses unique contexts in which personal narratives about the storm are shared, including interviews with survivors, Dave Eggers's Zeitoun, Josh Neufeld's A.D.: New Orleans After the Deluge, Tia Lessin and Carl Deal's Trouble the Water, and public commemoration during Hurricane Katrina's tenth anniversary in New Orleans. In each case, survivors initially present themselves in specific ways, counteracting negative stereotypes that characterize their communities. However, when adapted for public presentation, their stories get reduced back to those stereotypes. As a result, people affected by Katrina continue to be seen in limited terms, as either undeserving or incapable of managing recovery. This project is rooted in Horigan's experiences living in New Orleans before and after Katrina, but it is also a case study illustrating an ongoing problem and an innovative solution: survivors' stories should be shared in a way that includes their own engagement with the processes of narrative production, circulation, and reception. When survivors are seen as agents in their own stories, they will be seen as agents in their own recovery. Having a better grasp on the processes of narration and memory is critical for improved disaster response because the stories that are most widely shared about disaster determine how communities recover.