The Moving Image and the Time of Prophecy: Trauma and Precognition in L. Von Trier’s Melancholia (2011) and D. Villeneuve’s Arrival (2016)
Both the deferred recurrence of post-traumatic symptoms and the foresight granted by prophetic vision bring about a disruption of temporality and generate a chronological discontinuity which is often formally rendered as narrative discontinuity. This similarity produces an interpretive ambiguity tha...
| Autor principal: | |
|---|---|
| Tipo de documento: | Electrónico Artículo |
| Lenguaje: | Inglés |
| Verificar disponibilidad: | HBZ Gateway |
| Journals Online & Print: | Gargar...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publicado: |
2020
|
| En: |
The journal of religion and film
Año: 2020, Volumen: 24, Número: 1, Páginas: 1-22 |
| (Cadenas de) Palabra clave estándar: | B
Melancholia (Película) (2011)
/ Arrival
/ Trauma
/ Profecía
/ Temporalidad
|
| Clasificaciones IxTheo: | AB Filosofía de la religión AE Psicología de la religión AG Vida religiosa |
| Otras palabras clave: | B
CHRISTIAN eschatology
B Time B trauma, film B Mahayana Buddhism B Prophecy |
| Acceso en línea: |
Volltext (kostenfrei) |
| Sumario: | Both the deferred recurrence of post-traumatic symptoms and the foresight granted by prophetic vision bring about a disruption of temporality and generate a chronological discontinuity which is often formally rendered as narrative discontinuity. This similarity produces an interpretive ambiguity that is central to the films, Melancholia (2011) by Von Trier and Arrival (2016) by Denis Villeneuve. Both movies begin by hinting at the post-traumatic origin of visions and then gradually shift towards a prophetic explanation. In addressing these two case studies, this article approaches prophecy and its temporality from a narratological perspective, integrating the critical parameters of trauma-theory with the contribution of Agamben’s concept of "Messianic time" and of Mahayana Buddhism. |
|---|---|
| ISSN: | 1092-1311 |
| Obras secundarias: | Enthalten in: The journal of religion and film
|