Abstract
A number of twenty-first century art films, set in an ‘Eastern European’ linguistic, cultural or mythical background have traumatized female leads: Tamara (Szabolcs Hajdu, 2004), Inland Empire (David Lynch, 2006), 4 luni, 3 săptămâni şi 2 zile/4 months, 3 weeks, and 2 days (Cristian Mungiu, 2007), Katalin Varga (Peter Strickland, 2009) and Bibliothèque Pascal (Szabolcs Hajdu, 2010). Since the audio-visual representation of moments of trauma is quite consistent in these films, despite their belonging to different production models and artistic canons (New Hungarian Cinema, American postmodern indie, Romanian New Wave, British transnational cinema), the article presents a detailed analysis of their ‘traumatic moments’, using Michel Chion's model of sound in film, and trauma theory. The author argues that the traumatized female leads can be interpreted as allegorical representations of ‘Eastern Europe’ and its collectivities, also haunted by traumatic recurring experiences. This interpretation is inspired by Ismail Xavier's allegorical reading of female characters in Latin American cinema and by Mark Betz’ concept of ‘wandering women’ in European art cinema. The author also reinterprets Fredric Jameson's well known idea of the ‘national allegory in third-world literature’ to apply it to transnational cinematic material.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.