ABSTRACT By exploring three films that centre on the Marikana strikes and killings of 2012, I seek to examine both the representations of violence as trauma, and the trauma of representing violence, within the context of visual, cinematic texts. I position Marikana, and the trauma of Marikana, as both a highly significant moment, and also as representative of deeper social and political traumas and injustices. I ask whether and how these films create a narrative context for this pivotal moment in South African history. I also question the effects of cinematic style and genre in the depictions of trauma and violence. The institutional context in which each film originated and developed is important, and I argue that the audience's expectations of the genre of documentary film also play a significant role in the way in which the films process trauma. I situate my paper in conversation with previous articles by Lucy Graham and Helene Strauss among others, that deal with cinematic portrayals of Marikana. By examining the selected films alongside each other, and through the lens of Decolonial Trauma Studies, I hope to elucidate the ways in which these South African films deal with and work through trauma.

中文翻译：

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马里卡纳的真相/小说/创伤：在三部电影中探索暴力和创伤，马里卡纳大屠杀：透过镜头 (2013)、矿工被击落 (2014) 和夜晚来临：马里卡纳受害者 (2014)

摘要 通过探索以 2012 年马里卡纳 (Marikana) 罢工和杀戮为中心的三部电影，我试图在视觉、电影文本的背景下，检验将暴力作为创伤的表征，以及表征暴力的创伤。我将马里卡纳和马里卡纳的创伤定位为一个非常重要的时刻，也是更深层次的社会和政治创伤和不公正的代表。我问这些电影是否以及如何为南非历史上的这一关键时刻创造叙事背景。我还质疑电影风格和类型在描绘创伤和暴力时的影响。每部电影起源和发展的制度背景都很重要，我认为观众的 对纪录片类型的期望也在电影处理创伤的方式中发挥重要作用。我将我的论文与 Lucy Graham 和 Helene Strauss 等人之前的文章进行了对话，这些文章涉及 Marikana 的电影描绘。通过将选定的电影并排审查，并通过非殖民化创伤研究的镜头，我希望阐明这些南非电影处理创伤和克服创伤的方式。