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Unspeakable Histories : Film and the Experience of Catastrophe.

By: Material type: TextTextSeries: Film and culturePublication details: La Vergne : Columbia University Press, 2016.Description: 1 online resource (270 pages)Content type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9780231541961
  • 0231541961
Subject(s): Genre/Form: Additional physical formats: Print version:: Unspeakable Histories : Film and the Experience of Catastrophe.DDC classification:
  • 791.43658 23
LOC classification:
  • PN1995.9.H5 G85 2016
Online resources:
Contents:
Table of Contents ; Introduction: Making Experience Speak; 1. Ya�el Hersonski's A Film Unfinished ; 2. Andrzej Wajda's Katyn ; 3. Andrei Konchalovsky's Siberiade ; 4. Larisa Shepitko's The Ascent ; 5. Patricio Guzm�an's Nostalgia for the Light ; 6. Rithy Panh's S21: The Khmer Rouge Killing Machine ; 7. Joshua Oppenheimer's The Act of Killing ; Epilogue ; Notes ; Bibliography ; Index.
Summary: In Unspeakable Histories, William Guynn focuses on the sensation of encountering past events through film. Film is capable, he argues, of triggering moments of heightened awareness in which the barrier between the past and the present can fall and the reality of the past we thought lost can be momentarily rediscovered in its material being. In his readings of seven exceptional works depicting twentieth century atrocities, Guynn explores the emotional resonance that still adheres to traumatic historical events. Guynn considers dimensions of experience that historiography leaves untouched. Ya�el.
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Print version record.

Table of Contents ; Introduction: Making Experience Speak; 1. Ya�el Hersonski's A Film Unfinished ; 2. Andrzej Wajda's Katyn ; 3. Andrei Konchalovsky's Siberiade ; 4. Larisa Shepitko's The Ascent ; 5. Patricio Guzm�an's Nostalgia for the Light ; 6. Rithy Panh's S21: The Khmer Rouge Killing Machine ; 7. Joshua Oppenheimer's The Act of Killing ; Epilogue ; Notes ; Bibliography ; Index.

In Unspeakable Histories, William Guynn focuses on the sensation of encountering past events through film. Film is capable, he argues, of triggering moments of heightened awareness in which the barrier between the past and the present can fall and the reality of the past we thought lost can be momentarily rediscovered in its material being. In his readings of seven exceptional works depicting twentieth century atrocities, Guynn explores the emotional resonance that still adheres to traumatic historical events. Guynn considers dimensions of experience that historiography leaves untouched. Ya�el.

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