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Visual Distortions: Space and Time in El secreto de sus ojos and Zulu Love Letter

Visual Distortions: Space and Time in El secreto de sus ojos and Zulu Love Letter Henry Morello Visual Distortions Space and Time in El secreto de sus ojos and Zulu Love Letter El secreto de sus ojos (2009) directed by Juan José Campanella and Zulu Love Letter (2004) by Ramadan Suleman are films made five years and 5000 miles apart. Though the locations and the players are different, much in the way that the two states attempted to terrorize the community were similar. More importantly, for the historical record and for the people who suffered these atrocities, the artifacts, such as film, theatre, and music, that arose and still rise in answer to the state- sponsored violence is another striking commonality. Through the examination of two of these two artifacts, I examine the similarities of what I call posttraumatic texts and do so across cultural and linguistic borders. Joshua Hirsch in -Posttrau matic Cinema and the Holocaust Documentary attempts a theory at posttraumatic discourse in cinema. I will build on Hirsch’s ideas yet divert from them in some significant ways. Hirsch uses traumatic images in the documentary form as a way of supporting his theory. Although documentaries have a great deal to teach us about certain traumas, they do not fit the definition of http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Comparatist University of North Carolina Press

Visual Distortions: Space and Time in El secreto de sus ojos and Zulu Love Letter

The Comparatist , Volume 45 – Nov 11, 2021

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Publisher
University of North Carolina Press
Copyright
Copyright © Copyright © Society for Comparative Literature and the Arts
ISSN
1559-0887

Abstract

Henry Morello Visual Distortions Space and Time in El secreto de sus ojos and Zulu Love Letter El secreto de sus ojos (2009) directed by Juan José Campanella and Zulu Love Letter (2004) by Ramadan Suleman are films made five years and 5000 miles apart. Though the locations and the players are different, much in the way that the two states attempted to terrorize the community were similar. More importantly, for the historical record and for the people who suffered these atrocities, the artifacts, such as film, theatre, and music, that arose and still rise in answer to the state- sponsored violence is another striking commonality. Through the examination of two of these two artifacts, I examine the similarities of what I call posttraumatic texts and do so across cultural and linguistic borders. Joshua Hirsch in -Posttrau matic Cinema and the Holocaust Documentary attempts a theory at posttraumatic discourse in cinema. I will build on Hirsch’s ideas yet divert from them in some significant ways. Hirsch uses traumatic images in the documentary form as a way of supporting his theory. Although documentaries have a great deal to teach us about certain traumas, they do not fit the definition of

Journal

The ComparatistUniversity of North Carolina Press

Published: Nov 11, 2021

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