• Dealing with a Trauma Burdened Past: between Remembering and Forgetting

    Author: Joanna Kulska
    Institution: University of Opole (Poland)
    Year of publication: 2017
    Source: Show
    Pages: 23-35
    DOI Address:
    PDF: ppsy/46-2/ppsy2017202.pdf

    Recognition that societies will not be able to build a future as long as they do not face the ‘demons of the past’ has become a kind of universal truth over the last decades of the 20th Century (Gibney et al., 2008, p. 1). This view, though challenging and ambiguous, is reflected in the globally present attempts to improve or rebuild relations within and between different communities at the domestic and international level. The question concerning, on the one hand, the essence and most essential elements and, on the other hand, the instruments and the limitations of rebuilding relations, as well as the political implications of those processes have become the broad area of interest and the discourse leading to significantly different ideas and solutions. The article aims at presenting different approaches referring to dealing with the conflicted and traumatized past both at the domestic and international level. Some selected instruments and methods which enable movement from a divided past towards a common future are discussed namely the strategy of engagement with the past versus the strategy of avoidance of the past. The special attention is paid to the notion of reconciliation understood as a process of rebuilding of relations through the multi-dimensional transformation of former adversaries after the period of violence and repression.

  • Out of the past (1947) – the question of truth in Jacques Tourneur’s noir movie

    Author: Mikołaj Marks
    Institution: Uniwersytet Gdański
    Author: Marek Mosakowski
    Institution: Uniwersytet Gdański
    Year of publication: 2019
    Source: Show
    Pages: 64-75
    DOI Address:
    PDF: cip/17/cip1705.pdf

    Noir creators of the 1940s, like Jacques Tourneur, had a specific way of presenting worlds behind the silver screen. Their movies were visibly different than everything else Hollywood had to offer at that time. Marked by dark colors, inhabited by gritty, lost individuals, noir worlds seem hostile yet they also attract the audience in a perverse manner. Moreover, noir creators defy truth as it is. To discover it a person has to become an investigator, and study the noir movie like a murder case. Every element of the puzzle counts, as the film’s purpose is to deceive the audience. Analyzing both outside, mimetic tools of the filmmaker and inside, diegetic elements incorporated in a story-world is vital to understand how noir successfully plays with the idea of truth.

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