Rethinking the Historical Film Form: Trauma, Temporality and Indirect Representation in Historical Essay Films

dc.authoridcengiz, esin paça/0000-0002-3408-8579
dc.authorwosidcengiz, esin paça/ABG-1912-2020
dc.contributor.authorCengiz, Esin Paca
dc.date.accessioned2023-10-19T15:12:24Z
dc.date.available2023-10-19T15:12:24Z
dc.date.issued2023
dc.department-temp[Cengiz, Esin Paca] Kadir Has Univ, Dept Radio Televis & Cinema, Istanbul, Turkiyeen_US
dc.description.abstractIn film scholarship, historical film has been identified as a form that portrays events and experiences that took place in the past. By building on Caruth's concept of indirect representation, however, this article identifies a new historical film form that is not necessarily set in the past, but engages with questions regarding history, memory and historical representation. It conceptualizes this new form of 'historical essay film', and by analysing Voice of My Father, argues that rather than manifesting a desire to represent traumatic events directly, historical essay films refrain from the presumption that the medium of film can represent the reality of past events. To this end, they engage with past traumas indirectly through narratives that are set in the present day. The study further contends that the main thrust of historical essay films is to probe the discursive fields in which certain moments of the past are fixed, narrated and become predominant while others remain overlooked and unaccounted for. The article concludes with the claim that, as a consequence of their unconventional formal structures, historical essay films diminish the temporal distance between the past, present and future while also opening up new possibilities for rethinking what historical representation means.en_US
dc.identifier.citation0
dc.identifier.doi10.1080/13642529.2023.2210377en_US
dc.identifier.issn1364-2529
dc.identifier.issn1470-1154
dc.identifier.scopus2-s2.0-85158120029en_US
dc.identifier.scopusqualityQ1
dc.identifier.urihttps://doi.org/10.1080/13642529.2023.2210377
dc.identifier.urihttps://hdl.handle.net/20.500.12469/5435
dc.identifier.wosWOS:000982848700001en_US
dc.identifier.wosqualityQ1
dc.institutionauthorCengiz, Esin Paca
dc.institutionauthorPaça Cengiz, Esin
dc.khas20231019-WoSen_US
dc.language.isoenen_US
dc.publisherRoutledge Journals, Taylor & Francis Ltden_US
dc.relation.ispartofRethinking Historyen_US
dc.relation.publicationcategoryMakale - Uluslararası Hakemli Dergi - Kurum Öğretim Elemanıen_US
dc.rightsinfo:eu-repo/semantics/closedAccessen_US
dc.subjectHistorical filmen_US
dc.subjecttrauma studiesen_US
dc.subjectcinema and memoryen_US
dc.subjectessay filmen_US
dc.subjecttemporalityen_US
dc.subjectindirect representationen_US
dc.titleRethinking the Historical Film Form: Trauma, Temporality and Indirect Representation in Historical Essay Filmsen_US
dc.typeArticleen_US
dspace.entity.typePublication
relation.isAuthorOfPublication6f9fa9c3-e89b-424e-b6aa-a791022f2dcd
relation.isAuthorOfPublication.latestForDiscovery6f9fa9c3-e89b-424e-b6aa-a791022f2dcd

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