@article{Richter2020,
  author    = {Richter, Verena},
  title     = {Das Mittelmeer als pluraler Erinnerungsraum im franz{\"o}sischen Essayfilm: zu Jean-Daniel Pollets M{\´e}diterran{\´e}e (1963)},
  series = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  volume    = {6},
  journal   = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-244292},
  pages     = {155-175},
  year      = {2020},
  abstract  = {The present article aims to examine images of the Mediterranean Sea in Jean-Daniel Pollet's essay film M{\´e}diterran{\´e}e (1963), with a particular focus on its representation as a multifaceted space of cultural memory. After some preliminary observations on the relation between the essay film as a genre and images of the Mediterranean, I shall, on the one hand, have a look at the semantic processes through which the film builds up a recognizable image of the Great Sea. On the other hand, however, I will argue that, at the same time, M{\´e}diterran{\´e}e calls this signifying process into question by representing the sea as a space of cultural memory understood as a space of becoming and of deferral of meaning.},
  language  = {de}
}
@article{Christmann2021,
  author    = {Christmann, Tim},
  title     = {Grenzerfahrung, Grenz{\"u}berschreitung, Grenz{\"u}berwindung: Das Falkland/Malvinas Malvinas-Trauma in Lola Arias' Film Teatro de Guerra (2018)},
  series = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  volume    = {7},
  journal   = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  issn      = {2364-6705},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-305577},
  pages     = {17-33},
  year      = {2021},
  abstract  = {This article will examine the cinematic approach to the trauma of the Falklands/Malvinas War in Lola Ariasʼ film Teatro de Guerra (AR/ES, 2018). The armed conflict between Ar-gentina and Great Britain in 1982 can be understood as a traumatic liminal experience, whose artistic reception pushes conventional aesthetics to their limits and calls for innova-tive representational strategies. Based on a cultural studies approach to the Falklands/Mal-vinas War as a collective trauma, this contribution will highlight selected moments of aes-thetic border crossing in Teatro de Guerra, by which the film succeeds in transcending boundaries between former enemies of the war.},
  language  = {de}
}