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Emin is screaming: Empathy as affirmative engagement in Tracey Emin's Homage to Edvard Munch and All My Dead Children (1998)

Johnson, Clare

Authors

Clare Johnson Clare.Johnson@uwe.ac.uk
Associate Professor in Art & Design



Abstract

This article explores the concept of empathy as an affirmative feminist engagement with Tracey Emin’s short film Homage to Edvard Munch and All My Dead Children (1998). I consider the ‘work’ that art does in terms of empathic possibility asking why the film triggers this response and what this means for empathy research as an extension of the cross-disciplinary turn towards affect. I argue for empathy as the ethical negotiation of differences made possible by the affirmation of ‘what-is’. In particular, I focus on the status of the scream, which retains an ambiguous relation to what Barbara Bolt has called the ‘regime’ of representation (2004) yet remains a crucial aspect of the experience of Emin’s film.

Journal Article Type Review
Publication Date Aug 1, 2010
Journal Parallax
Print ISSN 1353-4645
Electronic ISSN 1460-700X
Publisher Taylor & Francis (Routledge)
Peer Reviewed Peer Reviewed
Volume 16
Issue 3
Pages 96-104
APA6 Citation Johnson, C. (2010). Emin is screaming: Empathy as affirmative engagement in Tracey Emin's Homage to Edvard Munch and All My Dead Children (1998). Parallax, 16(3), 96-104. https://doi.org/10.1080/13534645.2010.486676
DOI https://doi.org/10.1080/13534645.2010.486676
Keywords empathy, affirmation, Tracey Emin, temporality, Edvard Munch
Publisher URL http://dx.doi.org/10.1080/13534645.2010.486676

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