Film, trauma és az enunciatív jelen
Film, Trauma and the Enunciative Present

Summary/Abstract: Attempts in trauma studies at detailed, blow-by-blow recounting of atrocities in intimate detail are doomed to failure, as due to the unspeakable and unfathomable nature of trauma there is always a gap between experience and language. This approach is also inconsiderate of the pain of survivors who may be present in the audience and could lead to re-traumatisation. The paper reflects on alternative ways of working with trauma, based on an inclusive ethical approach, caring for the survivors, and looking at other, polyvocal forms of representation apart from language or the emotional attachment to characters, such as sensory and affective tools. These engage with viewers on other levels and create commitment though an embodied, sensory and/or affective experience. Two films, one narrative, one documentary, working with these methods are reviewed: Bahram Beyzai’s Bashu (The Little Stranger) (1986), a fiction film, is articulated through the character of a child and works with somatic registers. Garin Nugroho’s Puisi Tak Terkuburkan (A Poet) (1999), a stylized Indonesian documentary, works with didong, a traditional sung performance poetry, and re-enactment, played by a survivor who appears alternatively as a witness and as a character in the film.

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