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Welcome from the Editors
Get PDFWe are so pleased to welcome readers to the sixth issue of the Healthy Populations Journal (HPJ), a special edition focusing on health equity. HPJ is a multi-faculty, student led, open access, peer- reviewed journal housed at HPI at Dalhousie University. HPJ aims to make academic authorship accessible for students by reducing barriers to publishing, sharing, and accessing research. As part of our mission to support and disseminate research which advances knowledge on population health research and global health equity, we partnered with the CAHSPR Student Working Group to create a special issue to facilitate a sharing of student-led research taking place across Canada. Click on the PDF to read our full letter
Welcome from the Editors
Get PDFWe are so pleased to welcome readers to the eighth issue of the Healthy Populations Journal (HPJ). HPJ is a student-run, open-access, peer-reviewed journal housed at the Healthy Populations Institute (HPI) at Dalhousie University. Our focus is to highlight student-led population health and health equity research and support new authors in the academic publishing process. This issue is particularly exciting to us as it is the first being released following the implementation of our new board model. The update to our board model will assist with the advancement and longevity of the journal, and we are eager to see the progression of the HPJ
Entre unheimlich et abjection : instabilité identitaire et intertextualité dans Holy Motors de Leos Carax
No full textIn this article, I examine the interplay between the unheimlich (the uncanny) and the abject in Leos Carax‘s film Holy Motors (2012). While the two phenomena seem at first to be nearly synonymous, Kristeva, in Powers of Horror, emphasizes that abjection is fundamentally different from the strange familiarity theorized by Freud in 1919. However, I contend that the anxiety and alienation that this anarchic and sometimes violent film provokes in the spectator stems from both states. I begin by showing how Carax destabilises the spectator by representing the identity of the main character, M. Oscar, as unreliable throughout the film. I then analyse two specific episodes from Holy Motors, one that looks to affirm the spectator‘s dissociation from M. Oscar through the use of starkly abject elements, and the other that increases the spectator‘s uncertainty with regards to M. Oscar‘s true identity by creating a heightened sensation of unheimlich. Finally, I will show how a specific intertextual reference to the horror film Les yeux sans visage (Georges Franju 1959), a film that also plays on both the abject and the uncanny, places the spectator in a state of radical alienation from the fictional universe of the film.Cet article explore le croisement entre unheimlich et abjection dans le film Holy Motors (2012) de Leos Carax. Si l‘abjection et l‘unheimlich semblent être presque synonymes, Kristeva, dans Pouvoirs de l‘horreur, précise que l‘abjection est « [e]ssentiellement différente de ‘l‘inquiétante étrangeté‘ » théorisée par Freud en 1919. Nous montrerons pourtant que l‘angoisse ressentie par le spectateur lors du visionnement de Holy Motors relève des deux phénomènes. Nous verrons comment Carax déstabilise le spectateur en représentant l‘identité du personnage de M. Oscar comme fondamentalement changeante tout au long du film ; nous nous consacrerons ensuite à une analyse de deux épisodes de Holy Motors visant à renforcer chez le spectateur une distanciation radicale de M. Oscar (due au sentiment d‘abjection) et une incertitude à l‘égard de son identité (due à la sensation d‘unheimlich). Enfin, nous examinerons comment, par la création d‘un lien explicite au film d‘épouvante Les yeux sans visage (Georges Franju 1959), lui aussi fortement ancré dans l‘abjection et dans l‘unheimlich, Carax renforce l‘impossibilité chez ses personnages d‘incarner une identité stable et maintient ses spectateurs dans un état d‘aliénation par rapport à la diégèse du film
