Imposing an ideology: cultural trauma and political taboo in Nebojša Slijepčević’s Srbenka

IF 0.3 0 FILM, RADIO, TELEVISION
Yago Paris
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引用次数: 0

Abstract

Abstract The present paper analyzes Nebojša Slijepčević’s documentary Srbenka from a political and cultural perspective, from the point of view of political taboo and cultural trauma. By tackling the murder of the Zec family during the Croatian War of Independence, the film reflects on the situation of the Serbian national minority and the conflictive situation it has to confront due to the national narratives that the Croatian state has developed, which are a representation of political taboo. This situation provokes and reinforces an almost impossible to solve cultural trauma inside the Serbian community, whose population, as a result, reacts by hiding their ethnic origin in the public sphere, in a behavioural pattern known as unacknowledgeability. The reconstruction of the murder will allow me to analyze witness traumatization. In the end, a study of documentary theory, based on Nichols six modes to categorize documentaries will be developed, in order to analyze how cinema, and also the arts in general, can be used as vessels for the exposition of struggles and the development of empathy.
强加一种意识形态:Nebojša斯利耶夫耶维奇的斯尔本卡的文化创伤和政治禁忌
摘要本文从政治和文化的角度,从政治禁忌和文化创伤的角度分析Nebojša斯利耶夫耶维奇的纪录片《斯尔本卡》。影片通过处理克罗地亚独立战争期间Zec一家被谋杀的事件,反映了塞尔维亚少数民族的处境,以及由于克罗地亚国家发展的民族叙事而不得不面对的冲突局面,这是一种政治禁忌的表现。这种情况引起并加强了塞尔维亚社区内几乎不可能解决的文化创伤,其结果是,其人口的反应是在公共领域隐藏其种族出身,这种行为模式被称为不承认。对谋杀案的重建可以让我分析证人的心理创伤。最后,通过对纪录片理论的研究,以Nichols对纪录片的六种分类模式为基础,来分析电影,以及一般的艺术如何作为展示斗争和发展同理心的容器。
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来源期刊
Studies in Eastern European Cinema
Studies in Eastern European Cinema Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.50
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0.00%
发文量
34
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