Emerge. The traumatic image in Gus Van Sant

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Gus Van Sant’s cinema is full of characters who have been confronted with a traumatic event. It is difficult to ignore the recurrence of trauma in the filmmaker’s work, from the very first films to the last. In this work, we examine some modalities of narrative treatment through the exemplary case o...

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Autor principal: Hammerli, Frédérique
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2018
Materias:
Trauma
Overcoming the event
Image
Power
Function of cinema
Superación del acontecimiento
Imagen
Poder
Función del cine
Acceso en línea:https://revistas.unc.edu.ar/index.php/eticaycine/article/view/22758
Aporte de:
Revistas de la UNC de Universidad Nacional de Córdoba
id I10-R10article-22758
record_format ojs
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-10
container_title_str Revistas de la UNC
language Español
format Artículo revista
topic Trauma
Overcoming the event
Image
Power
Function of cinema
Trauma
Superación del acontecimiento
Imagen
Poder
Función del cine
spellingShingle Trauma
Overcoming the event
Image
Power
Function of cinema
Trauma
Superación del acontecimiento
Imagen
Poder
Función del cine
Hammerli, Frédérique
Emerge. The traumatic image in Gus Van Sant
topic_facet Trauma
Overcoming the event
Image
Power
Function of cinema
Trauma
Superación del acontecimiento
Imagen
Poder
Función del cine
author Hammerli, Frédérique
author_facet Hammerli, Frédérique
author_sort Hammerli, Frédérique
title Emerge. The traumatic image in Gus Van Sant
title_short Emerge. The traumatic image in Gus Van Sant
title_full Emerge. The traumatic image in Gus Van Sant
title_fullStr Emerge. The traumatic image in Gus Van Sant
title_full_unstemmed Emerge. The traumatic image in Gus Van Sant
title_sort emerge. the traumatic image in gus van sant
description Gus Van Sant’s cinema is full of characters who have been confronted with a traumatic event. It is difficult to ignore the recurrence of trauma in the filmmaker’s work, from the very first films to the last. In this work, we examine some modalities of narrative treatment through the exemplary case of Paranoid park to highlight the fact that Gus van Sant is less interested, from the point of view of the character, the trauma itself or his painful consequences, only to a possible overtaking of the event through its elaboration. This will bring out what this motif reveals about the filmmaker’s work, his approach to the image and the power it exerts on the viewer, and thus its very conception of the function of cinema.
publisher Centro de Investigaciones y Estudios sobre Cultura y Sociedad
publishDate 2018
url https://revistas.unc.edu.ar/index.php/eticaycine/article/view/22758
work_keys_str_mv AT hammerlifrederique emergethetraumaticimageingusvansant
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bdutipo_str Revistas
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