Titel: | feature article: Embodying transnational shared space: Pirjo Honkasalo’s The 3 Rooms of Melancholia; |
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Beteiligte: | |
In: | Journal of Scandinavian Cinema, 6, 2016, 2, S. 119-135 |
veröffentlicht: |
Intellect
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Medientyp: | Artikel, E-Artikel |
Umfang: | 119-135 |
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ISSN: |
2042-7891
2042-7905 |
DOI: | 10.1386/jsca.6.2.119_1 |
veröffentlicht in: | Journal of Scandinavian Cinema |
Sprache: | Englisch |
Schlagwörter: | |
Kollektion: | Intellect (CrossRef) |
<jats:title>Abstract</jats:title> <jats:p>The article investigates the ways in which Pirjo Honkasalo’s documentary The 3 Rooms of Melancholia (2004), examining the impact of the Russian-Chechen war on children, engenders a transnational audience through cinematic qualities, and most importantly through embodiment, producing a strongly affective resonance in the spectator. I argue that through a strategically affective approach to transnationality, the documentary establishes what I call a transnational shared space, structured by a complex dialectics of sharing and non-sharing. My argument revolves around the concept of cinema as a shared space, referring to films that deliberately ‘surround’ the viewer rather than maintain a distance. As the analysis shows, Honkasalo’s documentary pushes the spectator to reflect critically on transnationality and reconsider mass media-created memory of the military conflict. The article addresses issues underlying the film’s ethical quest, such as whether this shared space involves both western (Catholic) and non-western (Orthodox and Muslim) audiences, and what the limits are of transnationalism in documentary film.</jats:p> |