Love Objects: Eros and the Materialistic Aesthetics of Ernst Lubitsch

IF 0.4 3区 艺术学 0 FILM, RADIO, TELEVISION
Noa Merkin
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引用次数: 0

Abstract

This article explores the role of filmic objects within the romantic relationships featured in Ernst Lubitsch’s silent The Marriage Circle (1924) and the comedy Trouble in Paradise (1932). I argue that these objects reflect a unique engagement with the materiality of film décor, which makes use of the strong presence of objects to portray intimacy as the site of inconclusive meaning. By examining both films together, I demonstrate how the world of inanimate objects brings erotic undertones to the surface while challenging the material conditions of the erotic itself. In order to do so, I examine the ways in which Lubitsch relies on material details not only as functional narrative devices, but as elements that challenge and complicate our interpretations of familiar things. While the underacknowledged use of objects in The Marriage Circle illustrates the logic of displacement that stands at the center of the director’s style, Trouble in Paradise provides a framework for recognizing the critical role of objects in the structure of desire in his films. This article sets up a new reading of tactility and materiality in Lubitsch’s use of mise en scéne and seeks to give objects a prominent role in the analysis of his style.
爱的对象:爱欲与恩斯特·卢比奇的唯物主义美学
本文探讨了电影对象在恩斯特·卢比奇(Ernst Lubitsch)的无声作品《婚姻圈》(1924)和喜剧《天堂里的麻烦》(1932)中的浪漫关系中的作用。我认为,这些物体反映了对电影装饰物质性的独特参与,电影装饰利用物体的强烈存在将亲密感描绘成具有不确定性意义的场所。通过将这两部电影放在一起研究,我展示了无生命物体的世界是如何将情色的潜台词带到表面,同时挑战情色本身的物质条件的。为了做到这一点,我研究了卢比奇依赖材料细节的方式,这些细节不仅是功能性叙事手段,而且是挑战我们对熟悉事物的解释并使其复杂化的元素。虽然《婚姻圈》中对物体的使用未被充分认识,这说明了作为导演风格中心的位移逻辑,但《天堂的烦恼》为认识物体在他的电影中欲望结构中的关键作用提供了一个框架。本文对卢比奇使用mise en scéne中的触觉性和物质性进行了新的解读,并试图赋予物体在分析其风格中的突出作用。
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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来源期刊
Film-Philosophy
Film-Philosophy Multiple-
CiteScore
0.40
自引率
0.00%
发文量
30
审稿时长
52 weeks
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