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Journal articles on the topic 'Melancholia (film)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Marks, Laura U. "Loving a Disappearing Image." Cinémas 8, no. 1-2 (October 26, 2007): 93–111. http://dx.doi.org/10.7202/024744ar.

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ABSTRACTThe author explores how a viewer identifies with a decaying or disintegrating film or videotape, given that cinema is, in effect, dying even as we watch it. She discusses several experimental films and videos that take as their subject the disintegration of film, often erotic film. A psychoanalytic model of melancholia is posited for this identificatory process, but it is found to be unsatisfactory since it is premised on the maintenance of the ego's coherence. Instead a model of devotional melancholia is posited for how one might love a disappearing image.

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Lee, Seong Joo. "Melancholia and Decadence－The Film Melancholia (2011) by Lars von Trier－." Journal of Humanities 81 (May 30, 2021): 113–45. http://dx.doi.org/10.31310/hum.081.04.

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Figlerowicz, Marta. "Comedy of Abandon: Lars von Trier's Melancholia." Film Quarterly 65, no. 4 (2012): 21–26. http://dx.doi.org/10.1525/fq.2012.65.4.21.

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The piece reviews Lars von Trier's Melancholia (2011). This film marks a break with von Trier's prior work. Rather than push its plot to the limits of emotional intensity and gravity, Melancholia studies and comically questions our sense of feelings’ proportion and scale.

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Nicholls, Mark. "Male Melancholia and Martin Scorsese's The Age of Innocence." Film Quarterly 58, no. 1 (2004): 25–35. http://dx.doi.org/10.1525/fq.2004.58.1.25.

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Abstract Through an analysis of Martin Scorsese's The Age of Innocence, this article proposes a psychoanalytically based theory of male melancholia. Grounded in the cultural ambiguities of loss and masculinity, melancholia is revealed as an essential tool for reading Scorsese's film and for understanding representations of male desire in the cinema.

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Chusna, Inayatul, Anggita Rizkiarachma Ansyahputri, Avi Ainul Fikri, and Muhammad Rafli. "The Manifestation of Monster and the Emotional Repression in Jennifer Kent’s The Babadook (2013)." Insaniyat: Journal of Islam and Humanities 4, no. 2 (May 24, 2020): 123–32. http://dx.doi.org/10.15408/insaniyat.v4i2.14453.

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The purpose of this research is to explore the emotional state of the main character, Amelia, in The Babadook film. The film portrays how Amelia deals with her loss and how the monster Babadook represents the repressed feeling of loss. This research analyses the emergence of the Babadook, how it affects her, and how her behaviors are considered as melancholia by using qualitative method and the theory of psychoanalysis, Mourning and Melancholia by Sigmund Freud (1917). The research finds that the eerie monster haunts Amelia whenever she is confronted to her repressed emotion: grief and self- loathing. The Babadook monster is the manifestation of grief and loss. As the monster getting stronger, the sinister presence of the Babadook starts to affect Amelia’s psyche as she is getting more paranoid and more aggressive. She is also unable to show affection toward her son. Moreover, Amelia shows an act of self-destruct by keeping herself from the outside world and unconsciously blaming herself for the death of the husband. Those behaviors indicate that Amelia comes into the state of melancholia. Finally, she manages to overcome the state by accepting the feeling of loss and let herself mourn. The study of this film suggests a way of dealing with trauma and loss by accepting their permanent presence in life.

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Waligórska-Olejniczak, Beata. "ZNIEWAŻONA ZIEMIA (LA TERRE OUTRAGÉE, 2012) MICHALE BOGANIM JAKO FILM POSTTRAUMATYCZNY." Porównania 24 (June 15, 2019): 85–94. http://dx.doi.org/10.14746/por.2019.1.8.

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Beata Waligórska-Olejniczak, ZNIEWAŻONA ZIEMIA (LA TERRE OUTRAGÉE, 2012) MICHALE BOGANIM JAKO FILM POSTTRAUMATYCZNY. „PORÓWNANIA” 1 (24), 2019. T. XXIV, S. 85-94. ISSN 1733-165X. Celem artykułu jest analiza filmu Znieważona ziemia Michale Boganim z punktu widzenia współczesnych badań nad traumą i studiów nad pamięcią. Wykorzystując aparat pojęciowy, funkcjonujący w obszarze tych badań, zauważono, że film Znieważona ziemia mieści się w kategorii filmu posttraumatycznego nie tylko ze względu na centralny dla niego temat czarnobylskiej katastrofy i jej następstw, które widz ma okazję obserwować głównie przez pryzmat milieu. Boganim umiejscawia traumę świadka przede wszystkim w niezdolnym do jej przepracowania ciele i psychice człowieka. Źle ulokowana nostalgia, melancholia, kinetyczna nadpobudliwość funkcjonują w filmie jako znaki, pozwalające widzowi współodczuwać tragedię bohaterów, rodzaj powtarzalnego kodu, zmuszającego do refleksji nad mechanizmami pamięci i zapominania.

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Dima, Vlad. "Ousmane Sembene'sLa Noire de…: melancholia in photo, text, and film." Journal of African Cultural Studies 26, no. 1 (August 2, 2013): 56–68. http://dx.doi.org/10.1080/13696815.2013.811069.

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Troth, Brian. "Haunted spaces: trauma, mourning, and melancholia in the HIV epidemic in France." Contemporary French Civilization: Volume 46, Issue 2 46, no. 2 (June 1, 2021): 129–46. http://dx.doi.org/10.3828/cfc.2021.7.

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Several AIDS films produced in France in the last five years approach the subject of AIDS in a memorialized fashion, resulting in the contemporary stakes of the epidemic going unheard, as noted by François Berdougo and Gabriel Girard. In this essay, this phenomenon is read as a cultural trauma and melancholia for gay men. Through Freudian trauma theory and Derridean notions of hauntology, this article argues that gay men are unable to escape the specters of the AIDS epidemic. First, the article explores the way haunting is invoked through public health campaigns, reactions to the epidemic, and cultural productions. Second, it engages with the 2016 film Théo et Hugo dans le même bateau to assert that while contemporary discourse is still marked by spectres of trauma, today’s advances in medicine and understanding of the disease allow for certain sexual behaviors to be practiced without fear of contamination and with the resolution of melancholia. Théo et Hugo accomplishes this through a reversal of the Orphic tragedy, here reread as an invitation to live life after AIDS.

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Gauvin, Francis. "Nihilisme et fin du monde dans Melancholia de Lars von Trier." Cinémas 26, no. 1 (July 6, 2016): 31–48. http://dx.doi.org/10.7202/1037000ar.

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Le film Melancholia (Lars von Trier, 2011) s’ouvre et se clôt sur une même représentation : la collision entre la Terre et une autre planète. L’histoire de Justine, la protagoniste, se déroule ainsi à l’intérieur d’un intervalle fort particulier, puisqu’elle se situe entre deux catastrophes. Cet article défend l’hypothèse selon laquelle la mélancolie de Justine serait symptomatique d’une première catastrophe — une perte incommensurable —, tandis que l’impact violent qui met fin au film s’apparenterait plutôt à un brusque retour du refoulé. La mise en parallèle de l’histoire de Justine avec l’histoire de l’art suggère en outre que le trouble du personnage n’est pas indépendant de la mélancolie romantique. En considérant le nihilisme comme un « sinthome », l’auteur montre comment, depuis le moment cartésien, il y eut non pas une perte, mais un aveuglement face à l’objet a et au grand Autre, lesquels n’auraient ainsi d’autre choix que de revenir à l’instar d’un retour du refoulé. La danse de la mort de la planète Melancholia décrirait donc le mouvement insaisissable de ce qui échappe aux lumières de la raison.

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Hyett, Matthew P., Gordon B. Parker, Christine C. Guo, Andrew Zalesky, Vinh T. Nguyen, Tamara Yuen, and Michael Breakspear. "Scene unseen: Disrupted neuronal adaptation in melancholia during emotional film viewing." NeuroImage: Clinical 9 (2015): 660–67. http://dx.doi.org/10.1016/j.nicl.2015.10.011.

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Parly, Nila. "Lars von Trier’s Lost Ring." Cambridge Opera Journal 30, no. 1 (March 2018): 1–28. http://dx.doi.org/10.1017/s0954586718000071.

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AbstractIn 2002, film director Lars von Trier agreed to stage Richard Wagner’s Ring cycle in Bayreuth. The project was abandoned, however, after two years of preparation. For this article’s research, I conducted interviews with key persons involved with the project, not least Lars von Trier himself, and I was given access to unseen materials (documents, videotapes and other items) from the archives of Lars von Trier’s film company, Zentropa, which shed light both on the director’s plans for the production and on the process that would eventually spell the end of the project. The materials, however, turned out to illuminate not only what the opera world lost, but also what von Trier’s later films gained from his immersion into Wagner’s creative world. In this article I seek to map both the ill-fated process and explore the later benefits from it in the films Antichrist (2009), Nymphomaniac (2013) and, above all, Melancholia (2011), with its echoes of Wagner’s apocalyptic Götterdämmerung.

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Tsyrkun, Nina А. "Grief as a Cognitive Metaphore in “Manchester by the Sea”." Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 44–53. http://dx.doi.org/10.17816/vgik10144-53.

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The article is devoted to analysis of Kenneth Lonergans Manchester by the Sea (1916) through the category of so-called cinema of grief dealing with the problems of enduring trauma of loss of the dear ones. The gist of the topic is institutionalization of the concealed ego of the protagonist through the death of the Other. Thus the treatment concerns sorrows of the trauma which undergoes either positive dinamic of its overcoming, or a negative form of embedding into the loss. The author assumes, that in Lonergans film the second case is visually articulated, anyhow logically drawing to the positive vector disclosing the concealed identity of the protagonist. The arc of the hero is traced on three levels, that is the film composition, psychological discordance of the protagonist and the soundtrack as a certain subtext of the picture. The study is based on the sources discussing the problem in question: Ziegmund Freuds Mourning and Melancholia, in which Freud argued that mourning comes to a decisive end when the subject severs its emotional attachment to the lost one, and on the works by Nicolas Abraham and Maria Trk about mourning disorder (introjection versus incorporation). The composition of the film is structured around flashbacks explaining the reasons for a pervasive cloud of shame, sadness, and guilt that follows the protagonist in the mourning process. In his architecture of grieving the filmmaker actually describes the protagonists melancholia in Freudian terms as a painful depression without any concern towards the outside world. He is characterized by a loss of the ability to love, reticence in any activity and decreased self-criticism and craving for punishment. Anyhow the musical accompaniment not only illustrates the depressed protagonist state of mind but also - with Handels Messiah at the climax point predetermines the finale with his crucial changing.

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ALTAN, Hayriyem Zeynep. "THE EFFECT OF MELANCHOLIA IN THE JOURNEY OF BEING A WOMAN: THE FILM "MİNE"." INTERNATIONAL PEER-REVIEWED JOURNAL OF COMMUNICATION AND HUMANITIES RESEARCHES 2, no. 2 (March 30, 2014): 144. http://dx.doi.org/10.17361/uhive.201429270.

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Furuseth, Sissel, Anne Gjelsvik, Ahmet Gürata, Reinhard Hennig, Julia Leyda, and Katie Ritson. "Climate Change in Literature, Television and Film from Norway." Ecozon@: European Journal of Literature, Culture and Environment 11, no. 2 (October 7, 2020): 8–16. http://dx.doi.org/10.37536/ecozona.2020.11.2.3468.

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Environmental and climatic change has become a frequent motif in contemporary Norwegian literature, television and film, and Norway has the worldwide first organization of writers committed to climate action (The Norwegian Writers’ Climate Campaign, founded in 2013). In this article, we argue that Norwegian climate change fiction and related works draw on elements that relate to specific national and/or Nordic cultural, societal and historical aspects, and that these elements give these works their distinct identity. We focus on four such aspects: (1) references to Norwegian petroculture (since the Norwegian economy is largely based on the export of fossil fuels); (2) an (imagined) intimate connection between Norwegianness and nature, and thus of what often is seen as a typical element of Norwegian national identity; (3) notions of “Nordicity”, and (4) an atmosphere of gloom and melancholia in many of the works (which often has been ascribed to Nordic landscapes, and usually is characteristic for the genre of Nordic noir).

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Guo, C. C., M. P. Hyett, V. T. Nguyen, G. B. Parker, and M. J. Breakspear. "Distinct neurobiological signatures of brain connectivity in depression subtypes during natural viewing of emotionally salient films." Psychological Medicine 46, no. 7 (February 18, 2016): 1535–45. http://dx.doi.org/10.1017/s0033291716000179.

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BackgroundEstablishing an evidence-based diagnostic system informed by the biological (dys)function of the nervous system is a major priority in psychiatry. This objective, however, is often challenged by difficulties in identifying homogeneous clinical populations. Melancholia, a biological and endogenous subtype for major depressive disorder, presents a canonical test case in the search of biological nosology.MethodWe employed a unique combination of naturalistic functional magnetic resonance imaging (fMRI) paradigms – resting state and free viewing of emotionally salient films – to search for neurobiological signatures of depression subtypes. fMRI data were acquired from 57 participants; 17 patients with melancholia, 17 patients with (non-melancholic) major depression and 23 matched healthy controls.ResultsPatients with melancholia showed a prominent loss of functional connectivity in hub regions [including ventral medial prefrontal cortex, anterior cingulate cortex (ACC) and superior temporal gyrus] during natural viewing, and in the posterior cingulate cortex while at rest. Of note, the default mode network showed diminished reactivity to external stimuli in melancholia, which correlated with the severity of anhedonia. Intriguingly, the subgenual ACC, a potential target for treating depression with deep brain stimulation (DBS), showed divergent changes between the two depression subtypes, with increased connectivity in the non-melancholic and decreased connectivity in the melancholic subsets.ConclusionThese findings reveal neurobiological changes specific to depression subtypes during ecologically valid behavioural conditions, underscoring the critical need to respect differing neurobiological processes underpinning depressive subtypes.

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Osuri, Goldie. "‘Ma’ and a Political Theology of Hindi Cinema." Theory, Culture & Society 31, no. 7-8 (September 17, 2014): 343–46. http://dx.doi.org/10.1177/0263276414547778.

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Hindi commercial cinema appears distinctive in its assemblage of earthly law and divine justice or political theology. Historically, Hindi cinema’s mothers have embodied a postcolonial melancholia of the (in)adequacy of law to justice. This blog piece seeks to explain a shift in the relationship between law and justice in recent Hindi films through a rumination on the disappearing melancholic mother.

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Carlton-Ford, Steve. "Film Review: Pirjo Honkasalo (Director), Kristiina Pervilä, and Pirjo Honkasalo (Producers). (2005). The 3 Rooms of Melancholia. United States: First Run/Icarus Films." Armed Forces & Society 34, no. 1 (June 15, 2007): 157–59. http://dx.doi.org/10.1177/0095327x07303714.

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Lee, Yongwoo. "Imperfectible narrative within colonial melancholia: Gendered sovereignty and the technology of colonial subjects in the wartime Korean propaganda film, The Volunteer (1941)." Asian Cinema 24, no. 2 (October 1, 2013): 223–37. http://dx.doi.org/10.1386/ac.24.2.223_1.

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Dular, Sonja. "Gazing into Beauty, Gazing into Death." Maska 33, no. 189 (June 1, 2018): 30–34. http://dx.doi.org/10.1386/maska.33.189-190.30_1.

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A Melancholic Croquis is based on the motifs of Thomas Mann’s Death in Venice and its eponymous film adaptation by Luchino Visconti. The director Matej Filipčič conceived the project as a unique synthesis of a theatre performance, a scientific experiment and a social event. The article focuses on this triple connection, the specifics of the project’s content, form and production. It first explains the thematic deviation from the original: the performance does not foreground the artist and his being torn between the Apollonian and the Dionysian, but centres on melancholy, which Filipčič recognises as melancholic and defines experientially as an equation of both principles. The original motifs are present but are of secondary significance since the question no longer concerns a philosophical deliberation on the ways of achieving beauty but rather the staging of an ambience, experience itself and the possibility of recording the spectator’s emotional responses. Why? Because a melancholic is a person par excellence clinging to time and enclosed by time, able to ‘fight’ against the fleeting and the fleetingness of time with only one weapon: a series of questions that force creative persons (artists, philosophers, scientists) towards creative acts, into which Filipčič constantly inserts memories, intertwining the personal and the collective, placing the particular in the universal that is valid here and now. The article also traces the fundamental building blocks of Filipčič’s staging process: the poetics of memory, the use of a croquis and a concern for communicativeness, which are read through A Melancholic Croquis.

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Harrer, Sabine. "From Losing to Loss: Exploring the Expressive Capacities of Videogames Beyond Death as Failure." Culture Unbound 5, no. 4 (December 12, 2013): 607–20. http://dx.doi.org/10.3384/cu.2000.1525.135607.

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In games, loss is as ubiquitous as it is trivial. One reason for this has been found in the established convention of on-screen character death as a signifier for failure (Klastrup 2006; Grant 2011; Johnson 2011). If that’s all that games have to offer in terms of addressing an existential trope of human experience, the worried protectionist concludes, shouldn’t we dismiss this intrinsically flat medium as inferior to more established media forms such as film or literature? (Ebert 2010). Contrary to this view, this paper discusses gameplay examples that shed light on how this medium might leverage its expressive resources to arrive at rich representations of loss. First, the notion of loss implied in Sigmund Freud’s work “Mourning and Melancholia” (1917) will be discussed in relation to losing in games. Looking at procedurality, fictional alignment and experiential metaphor as three expressive gameplay devices identified by Doris Rusch (2009) will help explain the expressive shortcoming of losing and lay out what is at stake with profound gameplay expression. Moreover, it will serve as the keywords structuring the following analysis of three videogames, Final Fantasy VII (1997), Ico (2001) and Passage (2007), and their design decisions fostering deep representations of loss. Keeping the Freudian notion of loss in mind, we can trace its repercussions on the three expressive dimensions respectively. Following a separate analysis of each gameplay example, the last section will discuss some commonalities and differences and arrive at the identification of desired object, permanent disruption and linearity as design aspects modeling loss in more compelling ways than losing.

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Halle, Randall. "Re-imagining the German East: Expulsion and Relocation in German Feature and Documentary Film." German Politics and Society 31, no. 4 (December 1, 2013): 16–39. http://dx.doi.org/10.3167/gps.2013.310402.

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Film history marks the various transformations in the material and imaginative relations between Germans and Poles in the postwar era. This article explores how film—the primary contemporary vehicle for imaginative communities—has played an important role in envisioning various spatial relationships, as well as the political and cultural shifts in the general population of Germany, West and East, and Poland. The article surveys the representation of flight and expulsion from the East first in the fictional feature film and then in the documentary genre. It then turns to contemporary productions that offer new visions of contemporary German-Polish relationships. It considers different strategies of filmmaking, such as big budget historic event films, the melancholic frame of expellee videos, the contemporary interzonal film, among others.

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Bueno, Claudio Celis. "Francesco Sticchi (2019) Melancholy Emotion in Contemporary Cinema: A Spinozian Analysis of Film Experience." Film-Philosophy 25, no. 1 (February 2021): 70–73. http://dx.doi.org/10.3366/film.2021.0159.

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Ivannikova, Kristina Olegovna. "Pirjo Honkasalo’s World of Thoughts and Symbols in Russia: Sample of Statistical Analysis." Journal of Flm Arts and Film Studies 7, no. 2 (June 15, 2015): 115–24. http://dx.doi.org/10.17816/vgik72115-124.

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The article deals with creation of Pirjo Honkasalo (b. 1947), one of the most talented and interesting filmmakers in contemporary Finnish cinema. Her films have gained certain recognition in Europe but are hardly known among Russian viewers - despite the fact that the subjects of a number of her documentaries are directly related to Russia. Pirjo Honkasalo is internationally known as the author of poetic documentaries marked with profound philosophical and religious issues. It was Honkasalos documentary Three rooms melancholia (Melancholian 3 huonetta, 2004), that lent eclat to her. The director debuted as an independent filmmaker with the low-budget picture Mysterion (Mysterion, 1991), and further on brightly developed her personal manner of cinematography and cutting. To better understand the method of her direction some passages from her recent interview with the Russian journalist M. Kuvshinova are included, where Honkasalo tells of her opinion on difference between documentary and feature helmer work. Special attention is paid to the feature films by Honkasalo focusing on the problems of a dysfunctional family (single mother with two children negligent). It is important to note that though Fire-eater (Tulennielija, 1998) and Concrete Night (Betoniyo, 2013) were filmed with an interval of 15 years, the similarity between them is traced both in a storyline, as well as in an aesthetic approach. Having considered creation of Pirjo Honkasalo, the author assumes, that the director, staying within genre of drama, richly varies her manner, presenting multifaceted experience in different directions, marked with a dialogue with the audience held in the language of ideas and symbols.

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Haacke, Paul. "The Melancholic Voice-Over in Film Noir." JCMS: Journal of Cinema and Media Studies 58, no. 2 (2019): 46–70. http://dx.doi.org/10.1353/cj.2019.0002.

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Braudy, Leo. "Near Dark: An Appreciation." Film Quarterly 64, no. 2 (2010): 29–32. http://dx.doi.org/10.1525/fq.2010.64.2.29.

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A reconsideration of Kathryn Bigelow's 1987 revisionist vampire film, Near Dark, in terms of its small-town ambience, visual openness, melancholic mood of nostalgia, outsider characters, and genre mix of horror and belated Western.

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Popescu, Cristina. "Melancholia in the Films of Terrence Malick." Ekphrasis. Images, Cinema, Theory, Media 21, no. 1 (June 27, 2019): 282–91. http://dx.doi.org/10.24193/ekphrasis.21.21.

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Osborn, Brad. "The Subdominant Tritone in Film and Television Music." Current Musicology 107 (February 10, 2021): 62–92. http://dx.doi.org/10.52214/cm.v107i.7840.

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Tritones sounding over subdominant harmony, either as suspensions, accented passing tones, or incomplete neighbors, constitute a class of sonorities regularly heard in film and television music. I collectively refer to these phenomena as “subdominant tritones” (SdTT), and theorize a link between the SdTT and emotions it engenders. The article presents close visual/musical analysis of selected SdTT-tinged passages in feature films that animate various heightened emotional states, including longing, nostalgia, relief, and melancholy. [Please note: This article contains embedded video files. These files cannot be played on all PDF readers. Current Musicology recommends Foxit PDF Reader, Adobe Acrobat, or any other PDF reader capable of reading "enriched" media.]

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Park, Hyun Seon. "Cold War Mnemonics: History, Melancholy, and Landscape in South Korean Films of the 1960s." Journal of Korean Studies 22, no. 2 (September 1, 2017): 389–412. http://dx.doi.org/10.1215/21581665-4226496.

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Abstract This article examines the way that cinematic mnemonics of 1960s South Korean films ciphers the heterogeneous and conflicting experiences regarding two entangled wars: the Korean War and the Cold War. In a close reading of Kim Suyong’s Mist (An’gae, 1967) and Yi Sŏnggu’s The General’s Mustache (Changgun ŭi suyŏm, 1968), the article argues for the multifaceted aesthetics of Cold War mnemonics, which illuminates a binding and unbinding technology of affective memories in which the traumatic experience of the Korean war parallels the dominant narrative of Cold War historiography. In Mist and The General’s Mustache, historical trauma and the experience of loss take up important positions in relation to melancholic landscape and mnemonic devices. Visualizing the interstice between melancholy and mourning, between memory and history, and between landscape and interiority through the devices of flashback, widescreen, montage, and metanarrative structure, the exploration of mnemonic technologies is inextricably linked with the postwar Korean subject’s dual efforts to remember historical loss and to incorporate shameful memories. While Mist shows the male protagonist’s short visit to his countryside hometown, during which he is troubled by memories of the past and, thus, his encounter with the unfinished work of mourning, The General’s Mustache, beginning with a photojournalist’s suspicious death, assembles the fragmentary pieces of modern Korean history’s secrets through multiple frames of testimony and confession. Produced during the time of Cold War turmoil as well as at the height of global modernization, these films release alternative thinking about time, memory, and history, asking us to remember what is left behind in Cold War historiography.

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Drąg, Franciszek. "In the clutches of melancholy. Interpretive analysis of Gilles Renard’s student film “Late Afternoon”." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 24, no. 33 (March 25, 2019): 179–84. http://dx.doi.org/10.14746/i.2018.33.15.

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The aim of the analysis is to present the film (Late Afternoon) by Gilles Renard as a study of melancholy. Both the plot and the cinematographic means used to shape the form of this short film correspond with the theoretical texts by Julia Kristeva and Melanie Klein on depression in women. The author of the text considers Late Afternoon as a feminist and affirmative film, strongly inspired by the aesthetics of Krzysztof Kieślowski’s cinematic output.

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Parrish, Susan Scott. "Jordan Peele’s Get Out and the Mediation of History." Representations 155, no. 1 (2021): 110–38. http://dx.doi.org/10.1525/rep.2021.155.5.110.

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In its attention to the undead state of American slavery, Jordan Peele’s film Get Out (2017) appears to fulfill Stephen Best’s diagnosis of a “melancholy historicism” in recent Black cultural production. But instead, the film draws viewers into a virtual experience—and potential analysis—of the roles of both technological and environmental media (from TV, film, and cellphones to housing, ceramics, and cotton) in perpetuating, or disrupting, Black captive kinship to a state of originary loss.

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Noheden, Kristoffer. "Hypnotic ecology: Environmental melancholia in Lars von Trier’s films." Journal of Scandinavian Cinema 8, no. 2 (June 1, 2018): 135–48. http://dx.doi.org/10.1386/jsca.8.2.135_1.

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SOUZA, Alexandre Venancio de, Kátia das Neves GARCIA, Thiago Henrique Muniz MORILHA, and Carol Godoi HAMPARIAN. "CONTRIBUIÇÕES PSICANALÍTICAS ACERCA DO LUTO E DA MELANCOLIA." UNIFUNEC CIÊNCIAS DA SAÚDE E BIOLÓGICAS 4, no. 7 (July 2, 2021): 1–13. http://dx.doi.org/10.24980/ucsb.v4i7.4907.

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A temática do luto e melancolia é demasiadamente importante no estudo psicanalítico e tem sido estudada desde o criador da psicanálise, Sigmund Freud, até autores contemporâneos que acrescentaram e revisaram as ideias iniciais. A perda do objeto de amor propicia ao indivíduo a experiência do luto, enquanto, na melancolia, o estado de sofrimento psíquico se dá a partir da perda ou danificação dos objetos internos sem, necessariamente, a perda de um objeto real. Os estados de luto e melancolia desencadeiam sofrimento psíquico, podendo inclusive levar o indivíduo ao patológico. O presente estudo tem como objetivo elucidar elementos presentes no luto e na melancolia e o processo de elaboração psíquica, utilizando como recurso artístico o filme Melancolia (2011) do diretor dinamarquês Lars Von Trier, articulando as teorias psicanalíticas acerca do tema, seus desdobramentos e consequências psíquicas. Para isso, utilizou-se como metodologia a revisão bibliográfica. A análise dos mecanismos encontrados na personagem Justine da obra de Lars Von Trier e suas vivências subjetivas dos processos ligados à melancolia permite avaliar importantes aspectos sobre a identificação melancólica e a temática da perda de objeto e investimentos afetivos com o mundo externo. Conclui-se que a melancolia, apesar de apresentar aspectos patológicos e prejuízos no campo afetivo e social, pode possibilitar potencialidades e saídas criativas em situações de desamparo diante da possibilidade de finitude humana, enquanto no processo de elaboração do luto envolve a escolha de um objeto substituto. PSYCHOANALYTICAL CONTRIBUTIONS TO MOURNING AND MELANCHOLY ABSTRACT The mourning and the melancholy issues are profoundly important for psychoanalytic study, and it has been studied from the creator of psychoanalysis Sigmund Freud to contemporary authors who added and revised the first concepts. Losing beloved ones results in the mourning experience to the individual, whereas in melancholy the suffering mental feeling comes from losing or damaging internal objects, without necessarily losing a real object. Mourning and melancholy conditions trigger mental suffering and may even lead the individual to a pathological condition. The present study aims at elucidating mourning and melancholy elements, and the psychic elaboration process, using the film Melancolia (2011) by the Danish director Lars Von Trier as an artistic resource, articulating the psychoanalytic theories about the issue, outcomes, and psychic consequences. In this regard, the literature review was used as a methodology. The analysis of the mechanisms found in the character Justine of Lars Von Trier's artwork, and his subjective experiences of the processes related to melancholy, allows us to evaluate important aspects as concerns melancholy identification and the loss of object issue and affective investments with the external world. It is concluded that melancholy, despite presenting pathologic aspects and damages for affective and social areas, may provide potentialities and creative results for abandon situations when facing the possibility of human finitude, whereas in the natural mourning stage involves the displacement mechanism. Descriptors: Mourning. Melancholy. Movie theater. Psychoanalysis.

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Vilhena, Junia de, Joana de Vilhena Novaes, and Carlos Mendes Rosa. "Obesity: listening beyond the fat cells." Revista Latinoamericana de Psicopatologia Fundamental 15, no. 3 suppl 1 (September 2012): 718–31. http://dx.doi.org/10.1590/s1415-47142012000500007.

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What relation does obesity have with mental suffering? The authors investigated the relationship between traumas, melancholia, and loss, and show that obesity represents an attempt to fill in a void that goes beyond food. Based on the recognition of mental suffering, the authors underscore the need for a new type of therapeutic listening that promotes new ways of dealing with the emptiness of one's existence.

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Tan, S. K. "Memorialization, melancholia and melancholizing in Shaw Brothers' fengyue (erotic) films." Screen 54, no. 1 (March 1, 2013): 82–103. http://dx.doi.org/10.1093/screen/hjs064.

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Wright, Timothy. "Melancholy freedom: Movement and stasis in Sibs Shongwe-La Mer's Necktie Youth (2015)." Journal of African Cinemas 11, no. 3 (December 1, 2019): 207–24. http://dx.doi.org/10.1386/jac_00017_1.

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Abstract This article examines the 2015 art-film Necktie Youth (Sibs Shongwe-La Mer) with a view to understanding new affective, temporal and genre formations in post-transitional South Africa. A quasi-documentary portrait of ennui and depression among a circle of privileged 'born-free' youth in Johannesburg's wealthy suburbs, the film uses a coming-of-age narrative template to allegorize post-transitional South Africa. Yet this allegory is not a straightforward one of either disillusionment or progressivist maturation. Rather, it has something in common with David Scott's analysis of the 'ruined time' of post-revolution: an endless present haunted by the ghosts of futures past. I use Scott's lens to understand the floating, marooned temporalities of the film, whose deep melancholic undertow is at odds with its performance of youthful post-apartheid self-fashioning. Thus, despite its claims to inhabiting a 'new' historical phase, the film remains haunted by the ghosts of what Scott calls the 'allegory of emancipatory redemption'. I show how the film ultimately produces a sense of 'exile from history' ‐ a mode in which key historical events have already happened and in effect overwhelm the present ‐ and argue that this sensibility is key to understanding the contradictory temporalities of the present.

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Groves, Tim. "Melancholy Criticism: Primary Identification, the Film and the Critic." MEDIANZ: Media Studies Journal of Aotearoa New Zealand 10, no. 1 (2007): 6–13. http://dx.doi.org/10.11157/medianz-vol10iss1id71.

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Tan, S. "Chinese diasporic imaginations in Hong Kong films: Sinicist belligerence and melancholia." Screen 42, no. 1 (March 1, 2001): 1–20. http://dx.doi.org/10.1093/screen/42.1.1.

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Scarparo, Susanna. "A new dawn on the past: rethinking the ‘years of lead’ through a female-centred cinematic narrative." Modern Italy 22, no. 2 (April 6, 2017): 183–96. http://dx.doi.org/10.1017/mit.2017.16.

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Through a discussion of Susanna Nichiarelli’sLa scoperta dell’alba(The Discovery of Dawn, 2012), the article contends that historical films that do not centre their narratives around the homosocial and heterosexual male-quest, even if employing a conventional cinematic style, allow us to rethink national histories, trauma and contested memories, as they shift the focus to female subjectivities that are often marginalised in Italian historical films. Specifically, the discussion of Nichiarelli’sLa scoperta dell’albafocuses on the complex role of victims in interpreting the legacy of theanni di piomboand on the processes through which the interplay between mourning and melancholia fosters the emotional agency that is necessary for dealing constructively with the experience of loss.

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Tomczok, Marta. "Literacka historia ołowiu. Rekonesans." Narracje o Zagładzie, specjalny (June 21, 2021): 109–46. http://dx.doi.org/10.31261/noz.2021.dhc.08.

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This article offers an overview and preliminary arrangements of literary texts, chosen paintings and films (most of them from the past three centuries) which feature the motif of lead. The presence of lead as a symbol has been detected in poetry which treated the problem of war and peace; occasionally this use of lead has occurred in relation to printing, typesetting, and – less frequently – children’s toys. Much more often the motif of lead has been used in literary works to introduce the topic of melancholia and to express artists’ interest in alchemy. An analysis of literary prose at the turn of the 20th century related to zinc and lead metallurgy shows that lead did not occur in the context of mining, chemistry, and medicine until the 19th century. On the basis of studies of the press, historical literature, and contemporary reportage, the article shows the toxic nature of lead and its harmful effect on people and the environment, about which artists and authors try to warn the public at the turn of the 21st century. The article shows that the parallel between melancholia and saturnism is a well-documented phenomenon.

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Li, Yi. "Melancholic Nostalgia, Identity Crisis, and Adaptation in 1950s Hong Kong: Ba Jin’s Family on Screen." Adaptation 13, no. 3 (May 4, 2020): 313–33. http://dx.doi.org/10.1093/adaptation/apz029.

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Abstract The communist takeover of mainland China in 1949 created physical, cultural, and political segregation between the mainland and Hong Kong, thus fostering a sense of dislocation and alienation among filmmakers who had migrated to Hong Kong from the mainland. The aim of this study is to explore the symbiosis between nostalgia and adaptation in Hong Kong cinema within the cultural landscape of 1950s Hong Kong, when Cold War politics was operating. With a detailed analysis of the 1953 Hong Kong film adaptation of mainland writer Ba Jin’s novel Family, and a comparative reading with the mainland film version produced in 1956, this study illustrates the cultural and historical significance of nostalgia in the development of Hong Kong cinema. This article further argues that nostalgic sentiment was expressed effectively through adaptations, while simultaneously improving these adaptations artistically and strengthening their political alignment with the mainland.

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Martinez Rosario, Domingo. "Film and Media as a Site for Memory in Contemporary Art." Acta Universitatis Sapientiae, Film and Media Studies 14, no. 1 (December 1, 2017): 157–73. http://dx.doi.org/10.1515/ausfm-2017-0007.

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Abstract This article explores the relationship between film, contemporary art and cultural memory. It aims to set out an overview of the use of film and media in artworks dealing with memory, history and the past. In recent decades, film and media projections have become some of the most common mediums employed in art installations, multi-screen artworks, sculptures, multi-media art, as well as many other forms of contemporary art. In order to examine the links between film, contemporary art and memory, I will firstly take a brief look at cultural memory and, secondly, I will set out an overview of some pieces of art that utilize film and video to elucidate historical and mnemonic accounts. Thirdly, I will consider the specific features and challenges of film and media that make them an effective repository in art to represent memory. I will consider the work of artists like Tacita Dean, Krzysztof Wodiczko and Jane and Louise Wilson, whose art is heavily influenced and inspired by concepts of memory, history, nostalgia and melancholy. These artists provide examples of the use of film in art, and they have established contemporary art as a site for memory.

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Krylova, K. "Melancholy Journeys in the Films of Ruth Beckermann." Leo Baeck Institute Yearbook 59, no. 1 (January 1, 2014): 249–66. http://dx.doi.org/10.1093/leobaeck/ybu002.

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Frackman, Kyle. "THE EAST GERMAN FILM COMING OUT (1989) AS MELANCHOLIC REFLECTION AND HOPEFUL PROJECTION." German Life and Letters 71, no. 4 (September 10, 2018): 452–72. http://dx.doi.org/10.1111/glal.12208.

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McCallum, E. L. "Not Your Mother’s Melodrama." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 2 (September 1, 2019): 133–61. http://dx.doi.org/10.1215/02705346-7584940.

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This essay argues that twenty-first-century melodrama films by female directors rework the core components of classic melodrama form—not only its timing, but also narrative form, agnition, and the underlying fantasy of union. While they retain a focus on objects and setting as bearers of emotion, and on a crisis in intimate relations, the three films by Chantal Akerman, Claire Denis, and Ann Hui considered here reconsider melodrama’s possibilities. They all broach ways of rethinking Oedipal fantasy, moving beyond a story of the fraught emergence of the individual to one focused on a collective problem of how we negotiate a proper proximity to cherished others. All three films turn from what could have been to what the past makes possible now and thus change melodrama from a melancholic genre to a generative one.

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Reichmann, B. T. "A Interação do Filme Melancholia, de Lars von Trier, com Outras Criações Apocalípticas." Todas as Letras: Revista de Língua e Literatura 16, no. 1 (June 2, 2014): 216–23. http://dx.doi.org/10.15529/1980-6914/letras.v16n1p216-223.

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Coates, Paul. "Representation and Ruination under a Soviet Shadow: Wajda, History, and Chris Marker’s Re-thinking of Tarkovsky’s ‘Zone’." Baltic Screen Media Review 6, no. 1 (December 1, 2018): 94–113. http://dx.doi.org/10.2478/bsmr-2018-0006.

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Abstract Following the recent death of Andrzej Wajda, a reconsideration of his work is timely, and all the more so because he provides a reference point for many East Central European cinéastes. Thus this article uses his work as a main switching point between meditations on the issues his films raise. It theorises the status accorded History in them, and in Marxism in general, in relation to Walter Benjamin’s work on allegory and ruin, as well as to questions of characterisation. Also considered is the degree and nature of existentialism’s influence on this cinema, with blockages of choice foregrounded as necessarily entailing a thematics of doubling, contradiction and masking, and a reworking of the meaning of accusations of ‘treachery’ that have been a leitmotif of oppressed cultures, particularly when – as in cinema – access to the means of production depends on real or apparent collaboration with state authorities. The particular meaning of certain delays in production will also be considered, as will certain figures from the Polish culture (this writer’s primary specialisation) with an obvious ‘Baltic connection’, i.e. a Lithuanian origin, such as Tadeusz Konwicki and Czesław Miłosz. The thematics of doubling will finally be related to notions of ruination and of a filmic language adequate to it, which it will be argued may be seen prototypically in ‘the Zone’, Chris Marker’s name for a particular method of image-presentation, named in homage to that great Soviet film shot in Estonia, Andrei Tarkovsky’s Stalker (Сталкер, Russia, 1979). To revert to the title of Wajda’s final film Afterimage (Powidoki, Poland, 2016), and invoke Miłosz also, the Zone may be called the native realm, not only melancholic but also surprisingly utopian, of the after-image that is the ruin.

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Park. "All the Sad Young Men: Whiteness as Melancholic Haunting in Black Queer Independent Film." Black Camera 2, no. 2 (2011): 63. http://dx.doi.org/10.2979/blackcamera.2.2.63.

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Stewart, Michael. "Falling, Looking, Caring: Red Road as Melodrama." Journal of British Cinema and Television 9, no. 4 (October 2012): 548–68. http://dx.doi.org/10.3366/jbctv.2012.0105.

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This article examines Red Road as a melodrama and woman's film. It argues that the film is traductively real and melodramatic, and that conceiving the film in melodramatic terms is contrary to the way in which it has been defined in public discourses and academic analysis. Red Road is film melodrama in a number of related ways, via: tropes of narrative and character; a tendency to look back, work through and act out in a melancholy and melodramatic fashion; an emphasis on familialism and redemption; and the nomination of its central character as a woman and mother. Red Road is a maternal text in familiar and complex ways – for example, in the way in which CCTV is inscribed with guardianship and care, and also via Jackie's presentation as a sexual and narrative riddle and other-worldly figure. Jackie's sphinx-like status, the paper argues, connects with Red Road's multiple and twilight qualities, and this is supported by the film's affective elements, including its treatment of the Red Road flats. This treatment helps to engender Red Road's qualities not only of redemption and rebirth, but also of memory and revision.

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Schlipphacke, H. "Melancholy Empress: queering empire in Ernst Marischka's Sissi films." Screen 51, no. 3 (September 1, 2010): 232–55. http://dx.doi.org/10.1093/screen/hjq026.

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Berry, Chris. "No Father-and-Son Reunion: Chinese Sci-Fi in The Wandering Earth and Nova." Film Quarterly 74, no. 1 (2020): 40–44. http://dx.doi.org/10.1525/fq.2020.74.1.40.

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Chinese films in “the Chinese century” are more expansively confident than ever. A new vogue for science fiction, a genre that has taken off in China alongside the country's stratospheric growth, suggests that China is ready to take up the baton of galactic discovery adventure. Chris Berry examines the father-son narratives in The Wandering Earth (Frant Gwo, 2019) and Nova (Cao Fei, 2019), two recent films that link Chinese patriarchy to the triumph and trials of modern science and progress. The Wandering Earth reaffirms those dominant models in action adventure mode, while Nova's melancholic wanderings are ambivalent and even mournful. Nova reveals a more complex and varied Chinese imagination regarding the challenges presented by the twenty-first century than a mainstream production like The Wandering Earth.

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