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Horror cinema, historical trauma and national identity
Author: Linnie Blake

This book explores the ways in which the unashamedly disturbing conventions of international horror cinema allow audiences to engage with the traumatic legacy of the recent past in a manner that has serious implications for the ways in which we conceive of ourselves both as gendered individuals and as members of a particular nation-state. Exploring a wide range of stylistically distinctive and generically diverse film texts, its analysis ranges from the body horror of the American 1970s to the avant-garde proclivities of German Reunification horror, from the vengeful supernaturalism of recent Japanese chillers and their American remakes to the post-Thatcherite masculinity horror of the UK and the resurgence of hillbilly horror in the period following 9/11 USA. In each case, it is argued that horror cinema forces us to look again at the wounds inflicted on individuals, families, communities and nations by traumatic events such as genocide and war, terrorist outrage and seismic political change, wounds that are all too often concealed beneath ideologically expedient discourses of national cohesion. Thus proffering a radical critique of the nation-state and the ideologies of identity it promulgates, horror cinema is seen to offer us a disturbing, yet perversely life affirming, means of working through the traumatic legacy of recent times.

Magdalena Figueredo and Fabiana Larrobla

Between 1975 and 1979, thirty-one unidentified bodies bearing marks of torture appeared at various locations along Uruguays coastline. These bodies were material proof of the death flights implemented in neighbouring Argentina after the military coup. In Uruguay, in a general context of political crisis, the appearance of these anonymous cadavers first generated local terror and was then rapidly transformed into a traumatic event at the national level. This article focuses on the various reports established by Uruguayan police and mortuary services. It aims to show how,the administrative and funeral treatments given at that time to the dead bodies, buried anonymously (under the NN label) in local cemeteries, make visible some of the multiple complicities between the Uruguayan and Argentinean dictatorships in the broader framework of the Condor Plan. The repressive strategy implemented in Argentina through torture and forced disappearance was indeed echoed by the bureaucratic repressive strategy implemented in Uruguay through incomplete and false reports, aiming to make the NN disappear once again.

Human Remains and Violence: An Interdisciplinary Journal
Dispelling Misconceptions about Sexual Violence against Men and Boys in Conflict and Displacement
Heleen Touquet, Sarah Chynoweth, Sarah Martin, Chen Reis, Henri Myrttinen, Philipp Schulz, Lewis Turner, and David Duriesmith

, C. ( 2014 ), ‘ Men’s and Women’s Experiences of Violence and Traumatic Events in Rural Cote d’Ivoire before, during and after a Period of Armed Conflict ’, BMJ Open , 4 : 2 , e003644 , doi: 10.1136/bmjopen-2013-003644 . Howe , K. , Krystalli , R. , Krishnan

Journal of Humanitarian Affairs
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Jeremy Tambling

concepts … the irreducibility of the “effect of deferral” – such, no doubt, is Freud’s discovery’. 4 In Moses and Monotheism , it becomes a study of ‘latency’, as that which operates within trauma, bringing it on after the traumatic event, as an after-event. ‘Breaching’ for Derrida associates with writing, because it implies ‘a retention of permanent traces’ (204

in On anachronism
Patricia Allmer

the fragmentary […] is not to be confused with the category of contingent particularity: the fragment is that part of the totality of the work that opposes totality.’ 102 If, as Karl Reinhardt and Gerhart Hoffmeister argue, ‘a central theme [of post-war German literature] remained the inability to integrate the traumatic events of 1933 to 1945 into the lives of protagonists and, by inference, bring the Nazi past within the grasp of authors’, 103 Zürn’s anagrams constitute one response to this traumatised

in The traumatic surreal
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The rupture of loss and trauma
David Bolton

how we see ourselves, others and the world has fundamentally changed. To tragic loss and the distress of traumatic events is coupled the crisis of how to cope with or survive this deeply unfamiliar landscape, where friendship, faith and other consolations fail us. This is a dark night of the soul – a liminal state from where we cannot return to the past, where the future cannot be imagined and has not

in Conflict, peace and mental health
Patrick Duggan

hallucination may not be of the original trauma-event and may be more a remembering of the last time one remembered, it is still acutely related to and imitative of the original. The traumatic event can only ever become trauma-symptom through a reworking in the mimetic realm of memory. The uninvited nightmares of trauma-symptoms and the necessity to speak of the trauma-event in order to work through it are both mimetic iterations of the trauma-event. Trauma demands a referent insomuch as we cannot become traumatized unless we have a means of conceptualizing an event as

in Trauma-tragedy
Restrictions, riots and relocation
Wendy Ugolini

Chapter Four ‘They’re going to kill us!’: restrictions, riots and relocation This chapter addresses the traumatic events of June 1940; the police arrests, the anti-Italian riots and enforced relocation, which served to dramatically reinforce the outsider status of Italian families in Scodand. Using Edinburgh as a case study and drawing on personal testimonies, autobiographies and contemporary police reports, this chapter challenges the current literature which downplays the xenophobic aspects of the riots and dismisses them as an outburst of hooliganism. Instead

in Experiencing war as the ‘enemy other’
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Mary P. Wood

transgressive models of femininity (the prostitute or hypersexual woman) which bear the blame for social malaise. In effect, Italian film noirs are male melodramas rehearsing shifting power relationships in Italian society. As this chapter has indicated, the history of modern Italy has been marked by traumatic events and massive social change, events perceived as beyond individual control and profoundly threatening. Elsaesser

in European film noir
Mariko Hori Tanaka

traumatic event, says that ‘the truly New emerges through narrative, the apparently purely reproductive retelling of what happened – it is this retelling that opens up the space (the possibility) of acting in a new way’ (2014: 133). Beckett, rather than optimistically philosophising the need for narrative, as Žižek does, portrays narrative as the compulsion of a traumatised person. Even if the thought-narrative were incongruous, it would be the only way its author could face his or her trauma. With unheard voices, Beckett’s characters – those suffering from trauma

in Samuel Beckett and trauma