William Kentridge's animated Drawings for Projection as a postmemorial aesthetic
Bibliographic Data
| ID | 8364356 |
|---|---|
| Authors | Beschara Karam (0000-0001-8654-0187, Communication Science Department at the University of South Africa., corresponding author) |
| Year | 2014 |
| Volume | 49 |
| Issue | 90 |
| Pages | 4-23 |
| Publication date | 2014-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | de arte (JOURNAL) |
| Journal identifiers | ISSN: 0004-3389 • E-ISSN: 2471-4100 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/00043389.2014.11877205 |
| OpenAlex | W2768409894 |
| Language | EN |
| Citations received | 1 |
| References cited | 43 |
William Kentridge's Drawings for Projection series (1989–2003) consists of nine2 short, animated, charcoal, hand-drawn films, produced during a specific South African cultural and historical period. Kentridge's films have trauma and memory (personal and collective) as their main themes. This article further elucidates Kentridge's works by linking memory and trauma and his representation of the horror of apartheid through the unique term of ‘postmemory’ (Hirsch 1997). It is this concept that is central to understanding how and why Kentridge is able to document apartheid's atrocities and their traumatic aftermath. Several other seminal concepts from the discourse of memory and trauma have been utilised, for instance, Henri Raczymow's (1994) ‘memory shot through with holes’; Geoffrey Hartmann's (2003) ‘witnesses by adoption’; Michael Levine's (2006) ‘belated witness’ and Efraim Sicher's (2004) ‘absent memory’. This article, through the discourse of postmemory, has proffered a new interpretation of Kentridge's double-enacted, aesthetic operation of inscription and erasure, as exemplifying the concept of a postmemorial aesthetic. The film Felix in Exile is analysed in some detail, followed by further analysis of several of his other films in the series
Aesthetics · Art · Art history · Linguistics · Literature · Narrative · Politics · Projection (relational algebra) · Representation (politics) · Visual arts · Witness · African history and culture studies · Computer Science · Memory, Trauma, and Commemoration · Philosophy · South African History and Culture
The texture of memory
At Memory's Edge
‘Mourning and Postmemory’
‘Trauma and Experience’
‘Language and Culture after the Holocaust’
Trauma
From Gaza to Warsaw
The Essential Frankfurt School Reader
The Future of Trauma Theory
Trauma and the Memory of Politics
Unclaimed Experience
The Generation of Postmemory
Rescuing Civil Rights from Black Power
The Future of the Past
Children of Job
Surviving Images
Trauma Inherited, Trauma Reclaimed
What's Wrong With This Picture
Memory Shot Through With Holes
History as the Main Complaint
Multidirectional Memory
Regarding the pain of others
Collective Memory and Cultural History
The Rock
The Generation of Postmemory
Testimonial Objects
Second-Generation Testimony, Transmission of Trauma, and Postmemory
Between Memory and History
The Past in the Present
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,17 |
| Citation span | 2020 - 2020 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |