{"title":"Erik Skjoldbjærg的《纵火狂》（2016）中的局外人和旁观者","authors":"A. Gjelsvik","doi":"10.1080/20004214.2018.1438731","DOIUrl":null,"url":null,"abstract":"ABSTRACT This article discusses the Norwegian film The Pyromaniac (Erik Skjoldbjærg 2016) as an artistic attempt to come to terms with terrorism, and as a cinematic treatment of the Norwegian terror attacks of 22nd of July 2011. The film is discussed in relation with several written accounts on 22nd of July and focus is on the role of the individual, the family and the society when it comes to guilt and shame following incomprehensible events.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":" ","pages":""},"PeriodicalIF":0.4000,"publicationDate":"2018-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20004214.2018.1438731","citationCount":"0","resultStr":"{\"title\":\"Outsiders and bystanders in Erik Skjoldbjærg’s The Pyromaniac (2016)\",\"authors\":\"A. Gjelsvik\",\"doi\":\"10.1080/20004214.2018.1438731\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT This article discusses the Norwegian film The Pyromaniac (Erik Skjoldbjærg 2016) as an artistic attempt to come to terms with terrorism, and as a cinematic treatment of the Norwegian terror attacks of 22nd of July 2011. The film is discussed in relation with several written accounts on 22nd of July and focus is on the role of the individual, the family and the society when it comes to guilt and shame following incomprehensible events.\",\"PeriodicalId\":43229,\"journal\":{\"name\":\"Journal of Aesthetics & Culture\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2018-04-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1080/20004214.2018.1438731\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Aesthetics & Culture\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/20004214.2018.1438731\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q3\",\"JCRName\":\"CULTURAL STUDIES\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Aesthetics & Culture","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/20004214.2018.1438731","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"CULTURAL STUDIES","Score":null,"Total":0}
Outsiders and bystanders in Erik Skjoldbjærg’s The Pyromaniac (2016)
ABSTRACT This article discusses the Norwegian film The Pyromaniac (Erik Skjoldbjærg 2016) as an artistic attempt to come to terms with terrorism, and as a cinematic treatment of the Norwegian terror attacks of 22nd of July 2011. The film is discussed in relation with several written accounts on 22nd of July and focus is on the role of the individual, the family and the society when it comes to guilt and shame following incomprehensible events.
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