A 'post-historical' cinema of suspense : Jean-Luc Nancy and the limits of redemption

摘要: This thesis theorises an approach to cinematic suspense derived from a set of films that challenge the teleological and redemptive principles traditional narrative. It is argued such drawn need account for conditions violence suffering without recourse grounds redemption. They out question symbols underpin faith in its possibilities. Such counter these with form perpetuated continually withholds resolution, stressing destabilising both terms redemption affect aesthetic representations. Significantly, this examines years following 1989 confront central theme within historical hiatus disintegration ideological certainties occurring wake European communism. These films, by Kira Muratova, Bela Tarr, Artur Aristakisyan, Alexander Sokurov, Bruno Dumont, Roy Andersson, Ulrich Seidl Gus Van Sant, present world which human beings are always already turned against themselves, placing them context contemporary philosophical aporias identify condition as enigmatic resisting itself. suspend symbolic structures associated order reconfigure film „realist‟ cinema at threshold interpretative reconciliatory economies implicit soteriological mythology Western thought. Tracing Paul Ricoeur‟s schematic myths „fallen‟ world, turns on Jean-Luc Nancy‟s subsequent critique insufficiency properly existence. In place hermeneutic recovery real meaning, philosophy „sense‟ application offer speaks less conflicting narratives than radical stripping away terms, suggesting it normative ultimately constitutes proper heart films.