A Cognitive Approach to Embodying History in Film: An analysis of Son of Saul and Sunset Jasper Koopmans 10719105
[email protected] University of Amsterdam Research Master’s Thesis Media Studies 20/6/2020 Supervisor: Mrs. dr. M.A.M.B. (Marie) Lous Baronian Second reader: Mr. dr. A.M. (Abe) Geil Word count: 22.998 i ii Acknowledgements I would, above all, like to thank Marie Baronian for the constructive feedback that I received over the last few months. Although these were (and still are) surreal times due to the corona crisis, I could always count on Marie for pointing me in the right direction. Second of all, I would like to express my gratitude towards the UvA and the IMACS programme for providing me the opportunity of studying abroad for a semester during the Research Master. My time in Rome has been essential in shaping the ideas for this thesis. Lastly, I want to thank my friends and fellow students on whom I can always rely for advice and support. iii Abstract The two Hungarian films, Son of Saul (2015, László Nemes) and Sunset (2018, László Nemes), present history in new and exciting ways. Both films are created in the post-memory era, which means that the living, communicational connection with the represented events is fading out (Margitházi 2018). In the case of Son of Saul, the unspeakable is presented in the form of the Holocaust; and in the case of Sunset, the pre-WW I turmoil of 1913 Budapest is brought to the screen. Two approaches in cognitive film theory, the mood-cue approach and Embodied Simulation (ES) Theory, show how these films bring back alive the post-memory era.