LAUSR

ABSTRACT This paper offers a comparative analysis of the aesthetics of trauma in the German film A Woman in Berlin and the Bosnian film For Those Who Can Tell No Tales, both of which address wartime rapes that happened in mid-to late twentieth century Europe. We use trauma studies as well as Avery Gordon's sociological theory of haunting to examine how two historical episodes of war-time rape (post-WWII Germany and late twentieth century Bosnia) have created ghostly effects that can be seen in the periodic return to these histories through artistic productions. Gordon argues that a traumatic past continues to co-exist with the present in the form of ghosts; thus, we need to produce case studies of haunting that attend to the social and political effects/affects of the ghostly and how they complicate our accounts of social trauma and oppression. We focus on: (1) the national and transnational reception of the two narratives; (2) the films’ similarities and differences regarding the cinematography of trauma, narrative styles used and female agency; and (3) masculinity and the male voices’ ‘right’ to tell a story. We conclude by addressing the limits of representation in both films and their role in challenging the dominant cultural memory.