Please use this identifier to cite or link to this item: http://hdl.handle.net/1893/22990
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dc.contributor.advisorNeely, Sarah-
dc.contributor.advisorLovatt, Philippa-
dc.contributor.authorMai, Nadin-
dc.date.accessioned2016-03-22T11:32:02Z-
dc.date.available2016-03-22T11:32:02Z-
dc.date.issued2015-07-
dc.identifier.urihttp://hdl.handle.net/1893/22990-
dc.description.abstractAiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.en_GB
dc.language.isoenen_GB
dc.publisherUniversity of Stirlingen_GB
dc.subjectfilmen_GB
dc.subjectSlow Cinemaen_GB
dc.subjectcinemaen_GB
dc.subjectLav Diazen_GB
dc.subjectPhilippinesen_GB
dc.subjecthistoryen_GB
dc.subjectmemoryen_GB
dc.subjecttraumaen_GB
dc.subjectPTSDen_GB
dc.subjectconcentrationaryen_GB
dc.subjectterroren_GB
dc.subjectextrajudicial killingsen_GB
dc.subjecttortureen_GB
dc.subjectrapeen_GB
dc.subjectpost-traumaen_GB
dc.subjectDeath in the Land of Encantosen_GB
dc.subjectMelancholiaen_GB
dc.subjectFlorentina Hubaldo CTEen_GB
dc.subjectTrauma Cinemaen_GB
dc.subjectJanet Walkeren_GB
dc.subjectRoger Luckhursten_GB
dc.subjectSusannah Radstoneen_GB
dc.subjectaestheticsen_GB
dc.subjectdurationen_GB
dc.subjectabsenceen_GB
dc.subjectlatency perioden_GB
dc.subjectinstantaneityen_GB
dc.subjectflashbacksen_GB
dc.subjectanxietyen_GB
dc.subjectCathy Caruthen_GB
dc.subjectRaya Moragen_GB
dc.subjectfailed witnessingen_GB
dc.subjectTrauma Studiesen_GB
dc.subjectPhilippine Cinemaen_GB
dc.subjecttrauma therapyen_GB
dc.subjectsounden_GB
dc.subjectsilenceen_GB
dc.subjectframingen_GB
dc.subjectghostsen_GB
dc.subjecthauntingen_GB
dc.subjectBéla Tarren_GB
dc.subjectTsai Ming-liangen_GB
dc.subjectApichatpong Weerasethakulen_GB
dc.subjectAri Folmanen_GB
dc.subjectRithy Panhen_GB
dc.subjectWaltz with Bashiren_GB
dc.subjecttimeen_GB
dc.subjectlong-takeen_GB
dc.subjectcolonialismen_GB
dc.subjectoppressionen_GB
dc.subjectpsycheen_GB
dc.subjectpovertyen_GB
dc.subjectMartial Lawen_GB
dc.subjectl’univers concentrationnaireen_GB
dc.subjecthamletsen_GB
dc.subjectspeeden_GB
dc.subjectoff-screen spaceen_GB
dc.subjecttemporalityen_GB
dc.subjectpoweren_GB
dc.subjectpsychological warfareen_GB
dc.subjectmental paralysisen_GB
dc.subjectthe disappeareden_GB
dc.subjectchronic traumaen_GB
dc.subjectbackstory woundsen_GB
dc.subjectrepetitionen_GB
dc.subjectcircularityen_GB
dc.subjectpost-traumatic cinemaen_GB
dc.subjectdeathen_GB
dc.subjectdepletionen_GB
dc.subjectethicsen_GB
dc.subjectatrocityen_GB
dc.subjectpaintingen_GB
dc.subjectlandscape paintingen_GB
dc.subjectRückenfiguren_GB
dc.subjectChinese paintingen_GB
dc.subjectaccousmêtreen_GB
dc.subjectaccousmaticen_GB
dc.subjectmourningen_GB
dc.subjectgriefen_GB
dc.subject.lcshSlow cinemaen_GB
dc.subject.lcshDiaz, Lav, 1958- Filmmaker-
dc.subject.lcshMotion picture producers and directors Philippines-
dc.titleThe aesthetics of absence and duration in the post-trauma cinema of Lav Diazen_GB
dc.typeThesis or Dissertationen_GB
dc.type.qualificationlevelDoctoralen_GB
dc.type.qualificationnameDoctor of Philosophyen_GB
dc.contributor.funderPost-graduate research bursary from the School of Arts and Humanities, Stirling Universityen_GB
dc.author.emailtheartsofslowcinema@gmail.comen_GB
Appears in Collections:Communications, Media and Culture eTheses

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