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UID:16484-58db530bc00f7a106bac5fcdc1f116b1@events.la.psu.edu
DTSTAMP:20261001T205613Z
DTSTART;TZID=America/New_York:20251013T160000
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SUMMARY:“Between Real and Reel Horrors: International Transgressive Film Culture
	s since the 1970s”
DESCRIPTION:\nJulia B. Köhne\n\nHumboldt University\, Berlin\n\nSince th
	e 1970s\, international film cultures have acted as potent communicators
	 and commentators of real trauma histories\, theories\, and perpetrator 
	research. Films' aesthetic-narrative potential and specific way of shapi
	ng temporality (flashbacks\, parallel montages\, slow and fast motion) p
	rovides particularly useful means for staging individual and collective 
	traumas in relation to horrific war scenarios\, massacres\, and crises. 
	The lecture discusses feature and documentary films that deal with hyper
	violent traumatizing events by negotiating interrelations between violen
	t realities and their documentation and fictionalization. How are trauma
	tological concepts like “intrusion/flashback\,” “dissociation\,” “intrap
	sychic crypt\,” “passing-on\,” “perpetrator-victim inversion\,” “traumat
	ic memory\,” or “post-traumatic growth” translated into cinematic langua
	ge? Which specific dramaturgical means\, audiovisual operations\, symbol
	ic ‘surpluses’\, and representational limits of international trauma cin
	ema do films apply? To what extent can films influence official national
	 historiographies and shared consciousness?\n\nFor more details: https:/
	/events.la.psu.edu/event/international-transgressive-film-cultures/
X-ALT-DESC;FMTTYPE=text/html:<html><head></head><body><p>Julia B. Köhne<
	br />Humboldt University, Berlin</p><p>Since the 1970s, international fi
	lm cultures have acted as potent communicators and commentators of real 
	trauma histories, theories, and perpetrator research. Films' aesthetic-n
	arrative potential and specific way of shaping temporality (flashbacks, 
	parallel montages, slow and fast motion) provides particularly useful me
	ans for staging individual and collective traumas in relation to horrifi
	c war scenarios, massacres, and crises. The lecture discusses feature an
	d documentary films that deal with hyperviolent traumatizing events by n
	egotiating interrelations between violent realities and their documentat
	ion and fictionalization. How are traumatological concepts like “intrusi
	on/flashback,” “dissociation,” “intrapsychic crypt,” “passing-on,” “perp
	etrator-victim inversion,” “traumatic memory,” or “post-traumatic growth
	” translated into cinematic language? Which specific dramaturgical means
	, audiovisual operations, symbolic ‘surpluses’, and representational lim
	its of international trauma cinema do films apply? To what extent can fi
	lms influence official national historiographies and shared consciousnes
	s?</p><p>For more details: <a href='https://events.la.psu.edu/event/inte
	rnational-transgressive-film-cultures/'>https://events.la.psu.edu/event/
	international-transgressive-film-cultures/</a></p></body></html>
LOCATION:Foster Auditorium, 102 Paterno Library
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