Siesta Nightmares And Cannibalistic Daydreams: Desexilio and Raúl Ruiz’s A TV Dante

IF 0.3 4区 社会学 Q4 CULTURAL STUDIES
J. Nichols
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引用次数: 0

Abstract

This article adds to the critical discourses surrounding Raúl Ruiz (1941–2011) and his films of return after exile, or desexilio, by analysing his portion of A TV Dante (1992). In this Ruizian transmedia experimentation of Dante’s Inferno, there is a radical de- and re-territorialisation of the text: on the one hand, from text to film, and, on the other, spatially and temporally by transposing the text onto images of contemporary Chile. This paper reads the film, then, as a Ruizian re-encounter with Chile after exile during the early years of the period transition to democracy and looks to the implications of these disjunctions and displacements – both in the broader thematic vicissitudes and in more specific contradictions between sound and image – when re-worked in terms of spatial (Santiago de Chile) and temporal (post-dictatorship) conditions. In doing so, it turns to the Brazilian concept of anthropophagy as an analytical framework and tool. As such, this paper argues that approaching the film through the lens of anthropophagy not only helps us to read the discursive strategies deployed in the film, but also highlights how cannibalism works as both a formal structuring feature and as part of the film’s content.
Siesta噩梦与食人族白日梦:Desexilio和Raúl Ruiz的电视但丁
本文通过分析劳尔·鲁伊斯(1941–2011)在《电视但丁》(1992)中的部分,增加了围绕他和他的流亡归来电影的批评话语。在但丁的《地狱》的鲁伊斯式跨媒体实验中,对文本进行了彻底的去地域化和再地域化:一方面,从文本到电影,另一方面,通过将文本转换到当代智利的图像上,在空间和时间上进行。这篇论文读了这部电影,在向民主过渡的最初几年,在流亡后与智利再次相遇,并从空间(智利圣地亚哥)和时间(后独裁)条件的角度重新审视这些脱节和流离失所的影响——无论是在更广泛的主题变化中,还是在声音和图像之间更具体的矛盾中。在这样做的过程中,它转向了巴西的人类学概念,将其作为一种分析框架和工具。因此,本文认为,通过食人的镜头来看待这部电影不仅有助于我们阅读电影中使用的话语策略,而且还强调了食人是如何作为一种形式结构特征和电影内容的一部分发挥作用的。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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CiteScore
0.50
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25
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