Open Access. Powered by Scholars. Published by Universities.®
Articles 1 - 3 of 3
Full-Text Articles in Communication
National Trauma And The 'Uncanny' In Hage's Novel De Niro's Game, Hany Ali Abdelfattah
National Trauma And The 'Uncanny' In Hage's Novel De Niro's Game, Hany Ali Abdelfattah
CLCWeb: Comparative Literature and Culture
In his article "National Trauma and the 'Uncanny' in Hage's Novel De Niro's Game" Hany Ali Abdelfattah attempts to decipher the "uncanny" in the character of George who has been haunted by the memories of Bassam, a Lebanese survivor of trauma. Rawi Hage's De Niro's Game crystallizes the national trauma of Lebanon and the massacre of Sabra and Shatila as it unfolds in the story of the friendship between George and Bassam. Abdelfattah employs the psychoanalytic method of analysis with a focus on Freudian concepts such as "repression," "belatedness," "effacement," "displacement," and "non-abreaction of experience" in order to trace …
Nation In Remarque's All Quiet On The Western Front And Eastwood's Flags Of Our Fathers, Brent M. Smith-Casanueva
Nation In Remarque's All Quiet On The Western Front And Eastwood's Flags Of Our Fathers, Brent M. Smith-Casanueva
CLCWeb: Comparative Literature and Culture
In his article "Nation in Remarque's All Quiet on the Western Front and Eastwood's Flags of Our Fathers" Brent M. Smith-Casanueva explores the commonalities between the antiwar narratives of Erich Maria Remarque's novel All Quiet on the Western Front (1929) and Clint Eastwood's film Flags of our Fathers (2006). Taking the position that narration of nation must be considered a site of hegemonic struggle, Smith-Casanueva argues that both texts employ a similar deconstructive logic to subvert the nationalist discourses and dominant war narratives of their respective nations and the national myths constructed through these narratives. In particular, both All …
Fernández And Cinematic Propaganda In The U.S. And Mexico, Renae L. Mitchell
Fernández And Cinematic Propaganda In The U.S. And Mexico, Renae L. Mitchell
CLCWeb: Comparative Literature and Culture
In her article "Fernández and Cinematic Propaganda in the U.S. and Mexico" Renae L. Mitchell discusses the competing ideologies on both sides of the U.S.-Mexican border. As one of the foremost filmmakers of the Mexican Golden Age of cinema, Emilio Fernández established what would is recognized as "Mexicanness" by means of Indigenous characters in his films, most apparent in the film María Candelaria. RKO (Radio-Keith-Orpheum) Pictures, as the principal purveyor of US-American propagandist cinema, led Hollywood into the cinematic market of Mexico revealing its intentions by means of the RKO film The Falcon in Mexico. Fernández sought to …