The Anthropocene as Cinematic View: Time, Matter, and Race in Blade Runner 2049

IF 0.3 3区艺术学 0 FILM, RADIO, TELEVISION

CAMERA OBSCURA Pub Date : 2022-12-01 DOI:10.1215/02705346-10013632

Domietta Torlasco

引用次数: 0

Abstract

Taking Denis Villeneuve's Blade Runner 2049 as a point of departure, this essay argues that cinema's stories of species survival at once hide and duplicate the racialization of matter that has marked the history of geology and, more recently, the discourse of the Anthropocene. In the process, what is erased is also the memory of other stories that could have been told, stories that emerge out of a history of violence against Black being—what Hortense Spillers calls “high crimes against the flesh”—and that demand a temporality and a point of view that the cinema of the Anthropocene denies them.

查看原文本刊更多论文

电影视角下的人类世:《银翼杀手2049》中的时间、物质和种族

本文以丹尼斯·维伦纽夫（Denis Villeneuve）的《银翼杀手2049》（Blade Runner 2049）为出发点，认为电影中的物种生存故事同时掩盖和复制了物质的种族化，这种种族化标志着地质学的历史，以及最近的人类世话语。在这个过程中，被抹去的还有其他本可以讲述的故事的记忆，这些故事源于对黑人的暴力历史——Hortense Spillers称之为“对肉体的高度犯罪”——需要一种人类世电影所否认的时间性和观点。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

求助全文

约1分钟内获得全文求助全文

来源期刊

CAMERA OBSCURA FILM, RADIO, TELEVISION-

CiteScore

0.30

自引率

0.00%

发文量

期刊介绍： Since its inception, Camera Obscura has devoted itself to providing innovative feminist perspectives on film, television, and visual media. It consistently combines excellence in scholarship with imaginative presentation and a willingness to lead media studies in new directions. The journal has developed a reputation for introducing emerging writers into the field. Its debates, essays, interviews, and summary pieces encompass a spectrum of media practices, including avant-garde, alternative, fringe, international, and mainstream. Camera Obscura continues to redefine its original statement of purpose. While remaining faithful to its feminist focus, the journal also explores feminist work in relation to race studies, postcolonial studies, and queer studies.