EMBODIMENT AS AN ARCHIVE OF MEMORY: THE PHENOMENOLOGY OF TRAUMATIC EXPERIENCE IN CINEMA
DOI:
https://doi.org/10.30888/2663-5712.2025-31-01-065Keywords:
embodiment, trauma, phenomenology, memory, Ukrainian cinema, war, transformation, space, montage, postmemoryAbstract
This article examines embodiment as a means of registering and transmitting traumatic experience in audiovisual culture. Drawing on the phenomenological approaches of Maurice Merleau-Ponty and Dylan Trigg, as well as Vivian Sobchack’s theory of the embodiMetrics
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References
Merleau–Ponty, M. (2012). Phenomenology of Perception. Trans. D. A. Landes. Routledge.
Trigg, D. (2012). The Memory of Place: A Phenomenology of the Uncanny. Ohio University Press.
Sobchack,V. (1992). The Address of the Eye: A Phenomenology of Film Experience. Princeton University Press.
Hirsch, M. (1997). Family Frames: Photography, Narrative, and Postmemory. Harvard University Press.
LaCapra, D. (1999). Trauma, Absence, Loss. Critical Inquiry, 25(4), 696–727.
Marks, L.U. (2002). Touch: Sensuous Theory and Multisensory Media. Minneapolis: University of Minnesota Press.
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Published
2025-04-30
How to Cite
Демура, А. (2025). EMBODIMENT AS AN ARCHIVE OF MEMORY: THE PHENOMENOLOGY OF TRAUMATIC EXPERIENCE IN CINEMA. SWorldJournal, 1(31-01), 175–184. https://doi.org/10.30888/2663-5712.2025-31-01-065
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