By Sezgin Boynik, Adila Laidi Hanieh, Geert Lovink, Ana Peraica, Stevan Vuković
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Extra resources for Victims’ Symptom (PTSD and Culture)
Just the fact that the peephole video is from Chechnya is proof that trauma is a more global phenomenon than it is normally understood. But for some people, as for the Chechnyans, the angels are late in arriving. Bennett, in order to discuss the problem of global interconnections of trauma, analyses works of the Australian artist Gordon Bennett, who has a series of paintings in the style of Jean Michel Basquiat titled 911, related to the 11 September 2001 attacks on New York City. According to Jill Bennett, Gordon Bennett is someone who deals with his Australian aboriginal origins by performing as ‘the other’ in the official national visual representation.
PF: Hollywood movies give really good, structured narratives in order to be easily understood by the audience. In these narratives, everything has its own place, as victims do. But there are not many of them: yes, there are genocides, but the victims of genocides are minor characters – and they are avenged; an important, statutory twist in the narrative structure. In movies, all players have roles. The victim’s role is to be victimised, later rescued, or avenged. Their number is only relevant for showing how large the effort was to save/avenge them, for this, they do not need to be counted, just shown that they are numerous.
82 That is why we cannot talk about reconciliation of those who don’t understand each other. 83 But in the case of the film of Hoffman and Reid, no reconciliation happened, as is the case with the exhibition of Odstupanje. In order to start the process of mutual understanding, for mutual co-existence in a safe future, maybe the first step would be for the Serbs to accept the minimum consensus proposed by Branimir Stojanović; then the experience of trauma and parallel institutions would be lessons that the Serbs could learn for political emancipation.