Abstract
ABSTRACTThis article analyses two films, Larisa Shepit’ko’s Wings (Kryl’ia, 1966) and Pavel Chukhrai’s The Thief (Vor, 1997), from the point of view of the poetics of a traumatic past as the source for the present. Within the theoretical framework of the concepts of trauma, (post)memory and the uncanny, this analysis aims to answer the following questions: after the historical trauma of the Second World War, or the ‘Great Patriotic War’, is there any sense in talking not only about the future, but also about the present – if what Chris Lorenz terms ‘hot history’ haunts a person to the extent that it completely shapes his/her life? How does time ‘return’? Where is trauma located? What are the meanings of the figures of ‘lost objects’ in these films? What happens when trauma is anchored around a myth?
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: 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.
