Beyond a carnival of zombies: the economic problem of ‘aliveness’ in Laurent Cantet’s Vers le sud

Andrew Asibong
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引用次数: 7

Abstract

Abstract Laurent Cantet’s film Vers le sud (2005), based on three short stories by the Haitian-Canadian author Dany Laferrière, explores the problems of ‘aliveness’ and ‘deadness’, both physical and psychical, questioning the systemic and emotional methods by which these states become racialised and concomitantly commodified. Central to the film’s living potency is the acuity of its politicised analysis: from start to finish, Vers le sud shines an unswerving spotlight on the simultaneous precariousness and over-exposure of certain kinds of Black (in this case, poor Haitian adolescents’ and children’s) lives. The film’s politics, grounded in a lucid presentation of the material and ideological conditions of racialised inequality on which neo-colonial, neo-liberal (and, in this case, sexualised) tourism takes place, are combined with a specifically cinematic critique of the gaze of the wealthy, White female subject who buys the power not only to look at this life, but also, vampirically, to ingest its perceived qualities of vitality. Politics and aesthetics come together in the film to deconstruct a set of (frequently masked and insidious) operations formed at the disavowed crossroads of capitalist, racist and child-abusing phantasies of corporeal and emotional appropriation.
超越僵尸狂欢节:劳伦特·坎特的《南方之路》中“活着”的经济问题
洛朗·坎泰(Laurent Cantet)的电影《我的世界》(Vers le sud, 2005)改编自海地裔加拿大作家丹尼·拉费瑞特(Dany laferri)的三篇短篇小说,探讨了身体和精神上的“活着”和“死亡”问题,质疑了这些状态被种族化和伴随而来的商品化的系统和情感方法。影片生命力的核心在于其敏锐的政治分析:从开始到结束,《爱你》始终聚焦于某些黑人(在这种情况下,是贫穷的海地青少年和儿童)生活的不稳定和过度曝光。这部电影的政治背景是对新殖民主义、新自由主义(在这种情况下,是性化的)旅游所处的种族化不平等的物质和意识形态条件的清晰呈现,它与对富有的白人女性主体的凝视的特殊电影批评相结合,这些白人女性主体不仅购买了观察生活的权力,而且像吸血鬼一样,摄取了它所感知到的活力品质。在影片中,政治和美学结合在一起,解构了在资本主义、种族主义和虐待儿童的肉体和情感占有的不可否认的十字路口形成的一系列(经常是隐藏的和阴险的)行动。
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来源期刊
Studies in French Cinema
Studies in French Cinema FILM, RADIO, TELEVISION-
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