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    Rights statement: Baker, Brian, Our long national nightmare is over? in Scars and Wounds, 2017, Palgrave Macmillan, reproduced with permission of Palgrave Macmillan'. This extract is taken from the author's original manuscript and has not been edited. The definitive, published, version of record is available here: http://www.palgrave.com/gb/book/9783319410234#otherversion=9783319410241

    Accepted author manuscript, 185 KB, PDF-document

    Embargo ends: 13/07/20

    Available under license: CC BY-NC-ND: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License

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Our long national nightmare is over?: the resolution of trauma and male melodrama in The Tree of Life

Research output: Contribution in Book/Report/Proceedings - With ISBN/ISSNChapter (peer-reviewed)

Published

Standard

Our long national nightmare is over? the resolution of trauma and male melodrama in The Tree of Life. / Baker, Brian.

Scars and wounds: film and legacies of trauma. ed. / Nick Hodgin; Amit Thakkar. London : Palgrave Macmillan, 2017.

Research output: Contribution in Book/Report/Proceedings - With ISBN/ISSNChapter (peer-reviewed)

Harvard

Baker, B 2017, Our long national nightmare is over? the resolution of trauma and male melodrama in The Tree of Life. in N Hodgin & A Thakkar (eds), Scars and wounds: film and legacies of trauma. Palgrave Macmillan, London.

APA

Baker, B. (2017). Our long national nightmare is over? the resolution of trauma and male melodrama in The Tree of Life. In N. Hodgin, & A. Thakkar (Eds.), Scars and wounds: film and legacies of trauma London: Palgrave Macmillan.

Vancouver

Baker B. Our long national nightmare is over? the resolution of trauma and male melodrama in The Tree of Life. In Hodgin N, Thakkar A, editors, Scars and wounds: film and legacies of trauma. London: Palgrave Macmillan. 2017

Author

Baker, Brian. / Our long national nightmare is over? the resolution of trauma and male melodrama in The Tree of Life. Scars and wounds: film and legacies of trauma. editor / Nick Hodgin ; Amit Thakkar. London : Palgrave Macmillan, 2017.

Bibtex

@inbook{58cbf0df2680498bba129cb1326e6d58,
title = "Our long national nightmare is over?: the resolution of trauma and male melodrama in The Tree of Life",
abstract = "This chapter will consider the representation of personal and national trauma in Terence Mallick’s Palme d’Or-winning film The Tree of Life (2011). It begins with the news of the death of a favourite son, a trauma so profound that none of the surviving family members seem able to recover. Though this seems to denote the death in combat of a young soldier, the radical interiorization of this event marks a steadfast refusal to connect the father’s overbearing patriarchal presence with a structure of feeling that allowed the drafting of their son to fight (though without explicit historical markers, it seems to be in Vietnam). While generically diverse (a long, cinematically sublime sequence presents a cosmological ‘creation’), the film’s core is a male melodrama (a form considered by Mulvey, Schatz, and Mercer and Springer among others) wherein the traumatic event is foreshadowed by the Oedipal struggle between an authoritarian father and an elder brother within a prototypical nuclear family. Trauma in The Tree of Life is at once irrecuperable and the means by which emotional (and thereby political) conflict may be resolved, particularly with recourse to notions of sacrifice, grace and salvation clearly drawn from the Christian tradition. This chapter will read The Tree of Life as a mediation of two American ‘national traumas’, the war in Vietnam and the post-9/11 War on Terror, through the generic means of the melodrama (in the AFI’s definition, ‘Fictional films that revolve around suffering protagonists victimized by situations or events related to social distinctions, family and/or sexuality, emphasizing emotion’). Through the suffering and redemption of masculine characters, The Tree of Life proposes a theological solution to contemporary political and social traumas.",
author = "Brian Baker",
note = "Baker, Brian, Our long national nightmare is over? in Scars and Wounds, 2017, Palgrave Macmillan, reproduced with permission of Palgrave Macmillan'. This extract is taken from the author's original manuscript and has not been edited. The definitive, published, version of record is available here: http://www.palgrave.com/gb/book/9783319410234#otherversion=9783319410241",
year = "2017",
month = "7",
day = "13",
language = "English",
isbn = "9783319410234",
editor = "Nick Hodgin and Amit Thakkar",
booktitle = "Scars and wounds",
publisher = "Palgrave Macmillan",

}

RIS

TY - CHAP

T1 - Our long national nightmare is over?

T2 - the resolution of trauma and male melodrama in The Tree of Life

AU - Baker, Brian

N1 - Baker, Brian, Our long national nightmare is over? in Scars and Wounds, 2017, Palgrave Macmillan, reproduced with permission of Palgrave Macmillan'. This extract is taken from the author's original manuscript and has not been edited. The definitive, published, version of record is available here: http://www.palgrave.com/gb/book/9783319410234#otherversion=9783319410241

PY - 2017/7/13

Y1 - 2017/7/13

N2 - This chapter will consider the representation of personal and national trauma in Terence Mallick’s Palme d’Or-winning film The Tree of Life (2011). It begins with the news of the death of a favourite son, a trauma so profound that none of the surviving family members seem able to recover. Though this seems to denote the death in combat of a young soldier, the radical interiorization of this event marks a steadfast refusal to connect the father’s overbearing patriarchal presence with a structure of feeling that allowed the drafting of their son to fight (though without explicit historical markers, it seems to be in Vietnam). While generically diverse (a long, cinematically sublime sequence presents a cosmological ‘creation’), the film’s core is a male melodrama (a form considered by Mulvey, Schatz, and Mercer and Springer among others) wherein the traumatic event is foreshadowed by the Oedipal struggle between an authoritarian father and an elder brother within a prototypical nuclear family. Trauma in The Tree of Life is at once irrecuperable and the means by which emotional (and thereby political) conflict may be resolved, particularly with recourse to notions of sacrifice, grace and salvation clearly drawn from the Christian tradition. This chapter will read The Tree of Life as a mediation of two American ‘national traumas’, the war in Vietnam and the post-9/11 War on Terror, through the generic means of the melodrama (in the AFI’s definition, ‘Fictional films that revolve around suffering protagonists victimized by situations or events related to social distinctions, family and/or sexuality, emphasizing emotion’). Through the suffering and redemption of masculine characters, The Tree of Life proposes a theological solution to contemporary political and social traumas.

AB - This chapter will consider the representation of personal and national trauma in Terence Mallick’s Palme d’Or-winning film The Tree of Life (2011). It begins with the news of the death of a favourite son, a trauma so profound that none of the surviving family members seem able to recover. Though this seems to denote the death in combat of a young soldier, the radical interiorization of this event marks a steadfast refusal to connect the father’s overbearing patriarchal presence with a structure of feeling that allowed the drafting of their son to fight (though without explicit historical markers, it seems to be in Vietnam). While generically diverse (a long, cinematically sublime sequence presents a cosmological ‘creation’), the film’s core is a male melodrama (a form considered by Mulvey, Schatz, and Mercer and Springer among others) wherein the traumatic event is foreshadowed by the Oedipal struggle between an authoritarian father and an elder brother within a prototypical nuclear family. Trauma in The Tree of Life is at once irrecuperable and the means by which emotional (and thereby political) conflict may be resolved, particularly with recourse to notions of sacrifice, grace and salvation clearly drawn from the Christian tradition. This chapter will read The Tree of Life as a mediation of two American ‘national traumas’, the war in Vietnam and the post-9/11 War on Terror, through the generic means of the melodrama (in the AFI’s definition, ‘Fictional films that revolve around suffering protagonists victimized by situations or events related to social distinctions, family and/or sexuality, emphasizing emotion’). Through the suffering and redemption of masculine characters, The Tree of Life proposes a theological solution to contemporary political and social traumas.

M3 - Chapter (peer-reviewed)

SN - 9783319410234

BT - Scars and wounds

A2 - Hodgin, Nick

A2 - Thakkar, Amit

PB - Palgrave Macmillan

CY - London

ER -