De l’obsession
“De l’obsession”What could the compulsive return mean, the permanent allusion of pure and simple recycled motifs belonging to the imaginary world of concentration camps and the Holocaust narrative contexts without having anything to do with World War II? Referring constantly to a confused fantasy of...
保存先:
| 第一著者: | |
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| フォーマット: | Article ou chapitre numérique |
| 言語: | Français |
| 出版事項: |
2011
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| オンライン･アクセス: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| 要約: | “De l’obsession”What could the compulsive return mean, the permanent allusion of pure and simple recycled motifs belonging to the imaginary world of concentration camps and the Holocaust narrative contexts without having anything to do with World War II? Referring constantly to a confused fantasy of “camps” or “Holocaust” that has gradually established itself as a major paradigm of contemporary cinema, many films (as well as authors of science fiction) can probe the impact, the persistence, the indelible mark of the Holocaust on our contemporary representations. In fact, for this migrating game of images and meaning, these films act as do many “seismographs” (Daney) that record the disruption of our conception of human nature. |
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