Movies about War trauma
Psychological healing by means of narrative recovery of traumatic events necessarily implies their re-visitation, which can then easily lead to re-traumatization; therefore, narrative recovery might, in fact, sometimes work as a recovery of trauma. The latter may often be politically motivated, in which case the narrative usually prolongs ad infinitum exactly that which is supposed to heal: a wounded psyche in pain, a consciousness struggling to find its original self. The purpose of this analysis is threefold: first, to underscore the present importance of a comprehensive and politically non-partisan discourse about US war trauma in the wake of the Iraq War and before the scheduled winding down of the allied intervention in Afghanistan; second, to take a closer look at three cinematic representations of wartime PTSD, with focus on historical background, character dialog, visual effects, and moral message; and third, to make sense of the motivation leading screenwriters and directors to create dark, or at times even grotesque, audiovisual narratives representing war trauma (from both the victims’ and the perpetrators’ points of view), even though such films are mostly doomed to fail at the box-office.
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Speaking about the state of the Hollywood film industry at the 2008 Academy Awards, the Oscars’ host – comedian Jon Stewart – made the following wry assessment: ‘Not all films did as well as Juno obviously. The films that were made about the Iraq War, let’s face it, did not do as well. But I’m telling you, if we stay the course and keep these movies in the theatres we can turn this around. I don’t care if it takes 100 years. Withdrawing the Iraq movies would only embolden the audience. We cannot let the audience win.’ The films he is referring to include Home of the Brave (2006), In the Valley of Elah (2007) and Stop-Loss (2008) – all of which focus on the personal cost to American soldiers on their return to civilian life, as well as exposing the failure of the US invasion of Iraq at home and abroad. Despite their topical subject matter, these movies were, for the most part, commercial failures. This article seeks to investigate audience indifference (Jean Baudrillard claims a certain indifference is a fundamental consequence of the Western globalising ideology) to particular mainstream cinematic depictions of the post September 11 invasion of Iraq, via a consideration of the trauma and abjection depicted in these films. Baudrillard’s hypotheses on terrorism – as a symbolic challenge put forth by terrorism (embodied by the attack on the Twin Towers) – and the West’s incapacity to respond to it, forms the basis for our investigation of the limits of these films to incite and engage viewers. His writings offer a lens through which to consider how ‘terrorism’ operates symbolically, and fundamentally, the dilemmas this raises for a Western psyche grappling with how the ‘terrorist threat’ might be answered, engaged with, responded to.
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Post Traumatic Stress Disorder (PTSD): Home
Post Traumatic Stress Disorder (PTSD) is defined as a «complex anxiety disorder that may occur when individuals experience or witness an event perceived as a threat and in which they experience fear, terror, or helplessness.» PTSD is sometimes summarized as “a normal reaction to abnormal events.” It was first defined as a distinctive disorder in 1980 and was originally diagnosed in veterans of the Vietnam War.
Although the veteran population is most heavily affected by PTSD, «it is now recognized in civilian survivors of rape or other criminal assaults; natural disasters; plane crashes, train collisions, or industrial explosions; acts of terrorism; child abuse; or war.» (Gale Encyclopedia of Mental Health, 3rd ed.)
přisuzování
Zvláštní poděkování JJ Pionke, Applied Health Sciences Librarian, University of Illinois at Urbana-Champaign, who allowed us copy information from her Post Traumatic Stress Disorder Guide.
SFF: Numerous Films about Ukraine and War Traumas
At this year’s 28th Sarajevo Film Festival (SFF), more than 200 films will be shown, among them works dealing with war themes, dealing with the past, testimonies of survivors, trauma victims of crimes and sexual violence from Ukraine, Afghanistan, Iraq, countries from the former Yugoslavia and others.
The leading film festival in the region is showing the film “What’s This Country Called Now?” directed by Joseph Pierson as part of the “Dealing with the Past” program. The film is based on the experience of Aida Cerkez, a Bosnian woman who worked as a journalist during the siege of Sarajevo and in 1994 came up with the idea of trying to find one of the witnesses to the Sarajevo assassination on the occasion of the 80th anniversary of that event.
” She found Ismet, who is 90 years old and was ten years old at the time of the assassination. Ismet was a witness to the shooting that was the reason for the start of the First World War and continued to live in Sarajevo during the tumultuous years that followed. Aida interviews Ismet and shares with him her own view of life in war,” it is stated in the contents of the film.
Croatian director Vedrana Pribacic’s film “Bigger Than Trauma” will have its European premiere at this year’s SFF. This 90-minute documentary tells the story of women who survived torture, rape, and the murder of their loved ones, and who are still traumatized 25 years after the war in Croatia.
The focus was also on the Ukrainian film “Butterfly Vision”, which talks about the trauma of war. Director Maksym Nakonechnyi presents a film about a prisoner in Donbas who, after returning home, continues to be tormented by the traumatic experience of captivity.
The Dutch film “In Flow of Words” follows the story of three translators of the International Criminal Tribunal for the Former Yugoslavia (ICTY), who translate the shocking testimonies of eyewitnesses, victims, and perpetrators of crimes, never allowing their own emotions, feelings and life experiences to influence them. The film was shot in 2021 and directed by Eliane Esther Bots.
The documentary film “Retreat” talks about the traumatic memories of war and distant conflicts in Afghanistan and Iraq.
” Over the past twenty years, thousands of young Macedonian men and women have been recruited to work in kitchens and laundries in American military bases in Afghanistan and Iraq. After American troops withdrew from those countries last summer, they returned to their homeland, brought with them the quickly earned money, and soon invested it in real estate. But they also brought traumatic memories that marked them permanently,” it says in the description of the film directed by Anabela Angelovska, Detektor writes.
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