Screening the Scars

The Cinematic (In)visibility of Social Trauma

Häftad, Engelska, 2024

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Beskrivning

With contributions from Özcan Alper, Damir Arsenijević, Friederike Bassenge, Alen Drljević, Andreas Hamburger, Camellia Hancheva, Dženana Husremović, Lars Kraume, Dijana Jelača, Ajna Jusić, Cem Kaptanoglu, Stephan Komandarev, Maida Koso-Drljević, Nadia Kozhouharova, Gamze Özçürümez, Tatjana Petzer, Vivian Pramataroff-Hamburger, Goran Radovanović, Biljana Stanković, Svetlozar Vassilev, and Jasmila Žbanić.In the last decade, the concept of trauma has experienced a surprising boom in sociological and media debates. In a culture of outrage, blanket narratives of victimhood often overshadow the concrete, known social violations and their observable real economic and psychological consequences. The aim of this volume is to reflect on this shift in discourse and to compare it with the concrete historical backgrounds and psychosocial constitutions of countries that have been haunted by social trauma in different ways. In discussing feature films from Germany and four Balkan countries, the book presents the distinct social-traumatic histories, how they are negotiated in different societies, and the motifs cinema uses to narrate them.The award-winning films featured are Sadilishteto [The Judgement], Grbavica [Esma’s Secret – Grbavica], Muškarci ne plaču [Men Don’t Cry], Enklava [Enclave], Der Staat gegen Fritz Bauer [The People vs. Fritz Bauer], and Sonbahar [Autumn]. The individual film analyses are each accompanied by interviews with the filmmakers and introduced by overarching themes, the role of cinema as a place of social understanding in a post-traumatic society, and the methodology of film analysis.With contributions from the worlds of film, psychoanalysis, activism, psychiatry, film studies, literary and cultural studies, psychology, trauma studies, philosophy, psychotherapy, and human relations, this book has a broad appeal. It is a must-read for those looking for a deeper insight into social trauma and the impact of sociocultural factors, shown so clearly through the filmmaker’s lens.

Produktinformation

Utgivningsdatum:2024-11-14
Mått:152 x 229 x 16 mm
Vikt:438 g
Format:Häftad
Språk:Engelska
Antal sidor:298
Förlag:Karnac Books
ISBN:9781800132900

Utforska kategorier

Freudiansk psykologi inom Psykologi och pedagogik
Film inom Kultur

Mer om författaren

Andreas Hamburger, psychoanalyst (DPG/IPA), and training analyst (DPG, DGPT), is professor of clinical psychology and psychoanalysis, International Psychoanalytic University, Berlin. He is author, editor, and co-editor of numerous books, book series, and a journal on his main research topics: psychoanalytic supervision, film psychoanalysis, social trauma. Recent English books are Hamburger, Hancheva, & Volkan (Eds.), Social Trauma – An Interdisciplinary Textbook (Springer, 2020); Pramataroff-Hamburger & Hamburger (Eds.), From La Strada to The Hours – Suffering and Sovereign Women in the Movies (Springer, 2024); Hamburger, Film Psychoanalysis – Relational Approaches to Film Interpretation (Routledge, 2024).

Recensioner i media

‘Screening the Scars is a valuable dialogue between psychoanalysts and cineasts, not only about the aftermath of war crimes or the wide practice of atrocities, but also about having a voice and surviving. Cinema becomes a self-reflecting social act, mostly by depicting the everyday as a witness, one that triggers discomfort and incites meaning where empty silence once resided. It interprets by making us feel the deep footprints of everyday excess left in us or the unspeakable, so-called non-representable effects of trauma, so we reach a recognition of the unseen scars of yesterday. Forgotten, these will likely become the fresh wounds of tomorrow.’

Innehållsförteckning

ContentsAbout the editor and contributorsIntroduction: Cinematic art and the voidAndreas HamburgerPart I: Cinematic experience of social traumaThe elephant and the screen. Cinema in the aftermath of social traumaAndreas HamburgerScreening memory in trauma cinemaDijana JelačaScreening post-Yugoslav trauma and therapyTatjana PetzerPart II: Films and talksFilming history, filming trauma. Relational psychoanalysis of cinematic art in the post-traumatic voidAndreas HamburgerBorder of hope and death. Stephan Komandarev’s Sadilishteto [The Judgement] and repetition compulsionVivian Pramataroff-HamburgerInjustice in past and present. Sadilishteto [The Judgement]Stephan Komandarev in conversation with Camellia HanchevaJasmila Žbanić’s Grbavica: The land of my painNadia Kozhouharova“Let’s relax – this is going to go on”: On time and traumaJasmila Žbanić in conversation with Damir ArsenijevićTrauma, society, and artAjna Jusić in conversation with Dženana HusremovićTrauma and reconciliation in contemporary Balkan cinema: Alen Drljević’s Men Don’t Cry (2017)Svetlozar VassilevCinema of reconciliationAlen Drljević in conversation with Maida Koso-DrljevićContainer–contained and broken bonds in Goran Radovanović’s EnklavaCamellia HanchevaSocial trauma in Serbia: the importance of history and the power of repentanceGoran Radovanović in conversation with Biljana StankovićThe People v. Fritz Bauer. Lars Kraume’s film against forgettingAndreas HamburgerThe People v. Fritz BauerLars Kraume in conversation with Friederike BassengeÖzkan Alper’s Sonbahar [Autumn]Cem KaptanogluExploring social trauma and cultural resilienceÖzcan Alper in conversation with Gamze Özçürümez on Sonbahar [Autumn]Epilogue: Cultures and mournings. A comparison of social trauma cinemas, with an epilogue on elephantsAndreas HamburgerIndex