Trauma, Memory and Religion
How can we screen trauma? This question might lead the perception of documentary films about atrocities in the 20th and 21st centuries, like S21 THE KHMER ROUGE KILLING MACHINE (Rithy Panh, CAMB/FR 2003) about Cambodia, THE LOOK OF SILENCE (Joshua Oppenheimer, ID/DK 2014) about Indonesia or DAS RADI...
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| المؤلفون الرئيسيون: | , , , , , , , , , |
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| التنسيق: | Online |
| اللغة: | الإنجليزية |
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Schüren Verlag
2021
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| الوصول للمادة أونلاين: | 46795 |
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| _version_ | 1869514243272867840 |
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| author | Natalie Fritz Hessel Jan Zondag Daria Pezzoli-Olgiati Stefanie Knauss Vaughan S Roberts Verena Marie Eberhardt Lucien M. van Liere Gerwin van der Pol Jacob Given Freek L. Bakker |
| author_browse | Daria Pezzoli-Olgiati Freek L. Bakker Gerwin van der Pol Hessel Jan Zondag Jacob Given Lucien M. van Liere Natalie Fritz Stefanie Knauss Vaughan S Roberts Verena Marie Eberhardt |
| author_facet | Natalie Fritz Hessel Jan Zondag Daria Pezzoli-Olgiati Stefanie Knauss Vaughan S Roberts Verena Marie Eberhardt Lucien M. van Liere Gerwin van der Pol Jacob Given Freek L. Bakker |
| author_sort | Natalie Fritz |
| collection | Directory of Open Access Books |
| description | How can we screen trauma? This question might lead the perception of documentary films about atrocities in the 20th and 21st centuries, like S21 THE KHMER ROUGE KILLING MACHINE (Rithy Panh, CAMB/FR 2003) about Cambodia, THE LOOK OF SILENCE (Joshua Oppenheimer, ID/DK 2014) about Indonesia or DAS RADIKAL BÖSE (Stefan Ruzowitzky, AT 2013) about Nazi-Europe. A concern that may emerge as we watch films on atrocities is whether these artistic representations perhaps guide the public away from what “really happened”. There certainly is a huge gap between, on the one hand, the immediate experience of the event that lies behind the interpretative screening and, on the other hand, watching the director’s material while neither being a part nor ever having been part of the event. Yet often filmic representations are not intended to show what happened; instead they present case studies to be explored in the present. Often the films contain an inherent critique of genocidal violence and present humanistic perspectives on obedience. Mostly, these films underline the humanity of the victims, seeking to give names, faces and biographies so that they are much more than just numbers. What appears on the screen therefore challenges the audience with a moral question: what would you do? |
| format | Online |
| id | doab-20.500.12854ir-61271 |
| institution | Directory of Open Access Books |
| language | eng |
| publishDate | 2021 |
| publishDateRange | 2021 |
| publishDateSort | 2021 |
| publisher | Schüren Verlag |
| publisherStr | Schüren Verlag |
| record_format | ojs |
| spelling | doab-20.500.12854ir-612712022-01-31T09:36:38Z Trauma, Memory and Religion Natalie Fritz Hessel Jan Zondag Daria Pezzoli-Olgiati Stefanie Knauss Vaughan S Roberts Verena Marie Eberhardt Lucien M. van Liere Gerwin van der Pol Jacob Given Freek L. Bakker BL1-2790 N1-9211 How can we screen trauma? This question might lead the perception of documentary films about atrocities in the 20th and 21st centuries, like S21 THE KHMER ROUGE KILLING MACHINE (Rithy Panh, CAMB/FR 2003) about Cambodia, THE LOOK OF SILENCE (Joshua Oppenheimer, ID/DK 2014) about Indonesia or DAS RADIKAL BÖSE (Stefan Ruzowitzky, AT 2013) about Nazi-Europe. A concern that may emerge as we watch films on atrocities is whether these artistic representations perhaps guide the public away from what “really happened”. There certainly is a huge gap between, on the one hand, the immediate experience of the event that lies behind the interpretative screening and, on the other hand, watching the director’s material while neither being a part nor ever having been part of the event. Yet often filmic representations are not intended to show what happened; instead they present case studies to be explored in the present. Often the films contain an inherent critique of genocidal violence and present humanistic perspectives on obedience. Mostly, these films underline the humanity of the victims, seeking to give names, faces and biographies so that they are much more than just numbers. What appears on the screen therefore challenges the audience with a moral question: what would you do? 2021-02-12T06:31:08Z 2021-02-12T06:31:08Z 2020-08-27 10:17:14 2018 book 46795 2414-0201 9783741000683 https://directory.doabooks.org/handle/20.500.12854/61271 eng Journal for Religion, Film and Media image/jpeg Attribution-NonCommercial 4.0 International https://www.schueren-verlag.de/programm/titel/593-trauma-memory-and-religion-jrfm-1-2018.html https://jrfm.eu/index.php/ojs_jrfm/issue/view/6 Schüren Verlag 10.25364/05.4:2018.1.1 10.25364/05.4:2018.1.1 5b80c228-3393-4862-a8e9-6c35a63484f1 4ab8b7a6-8683-4f33-a348-fe0ed9cb4d91 ecec7f96-c737-4f41-a53d-01958ed51325 39a6f3d8-89f9-4bed-8933-83e30a7bf85f 353a332b-629c-44db-9f49-c7eff450bfb1 924e76e0-ccd7-433f-8d09-5a98d938f73f 1c998e62-d59a-42c5-8b6a-5ad36d35eaba b98afcdf-ec88-4cde-a2fd-3db38e9bab2e 0a40dbee-4ed0-4792-af62-47a3578c818d ce9e4e24-2797-4b02-93ae-ed386fd1ed00 7018c60b-ee2e-4203-a862-d14e1a0c924b 9783741000683 125 open access |
| spellingShingle | BL1-2790 N1-9211 Natalie Fritz Hessel Jan Zondag Daria Pezzoli-Olgiati Stefanie Knauss Vaughan S Roberts Verena Marie Eberhardt Lucien M. van Liere Gerwin van der Pol Jacob Given Freek L. Bakker Trauma, Memory and Religion |
| title | Trauma, Memory and Religion |
| title_full | Trauma, Memory and Religion |
| title_fullStr | Trauma, Memory and Religion |
| title_full_unstemmed | Trauma, Memory and Religion |
| title_short | Trauma, Memory and Religion |
| title_sort | trauma memory and religion |
| topic | BL1-2790 N1-9211 |
| topic_facet | BL1-2790 N1-9211 |
| url | 46795 |
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