{"title":"幽灵与复数身体：阿彼察邦-韦拉斯哈古（Apichatpong Weerasethakul）和科拉克里特-阿鲁纳农差（Korakrit Arunanondchai）作品比较研究","authors":"Yana Naidenov","doi":"10.18573/ipics.124","DOIUrl":null,"url":null,"abstract":"This article surveys the role of the spectral body as a device of transgression, multiplicity and entanglement, through a comparative study of the film Uncle Boonmee Who Recalls His Past Lives (2010), by the contemporary artist and filmmaker Apichatpong Weerasethakul, and short film installation by contemporary artist Korakrit Arunanondchai, titled No History in a Room Filled with People with Funny Names 5 (2018) at Serralves Contemporary Art Museum, Porto, co-produced with Alex Gjovic and boychild. The body enacts a spectral, pluralistic device in the narrative strategies devised by the authors, traversing physical and spiritual dimensions in diegetic and extra-diegetic spaces, entangling subjects, territories, esoteric and spiritual traditions, postcolonial histories, and sociological dimensions.","PeriodicalId":429920,"journal":{"name":"Intersectional Perspectives: Identity, Culture, and Society","volume":"45 25","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2024-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Spectrality and the Plural Body: A Comparative Study of the Works of Apichatpong Weerasethakul and Korakrit Arunanondchai\",\"authors\":\"Yana Naidenov\",\"doi\":\"10.18573/ipics.124\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This article surveys the role of the spectral body as a device of transgression, multiplicity and entanglement, through a comparative study of the film Uncle Boonmee Who Recalls His Past Lives (2010), by the contemporary artist and filmmaker Apichatpong Weerasethakul, and short film installation by contemporary artist Korakrit Arunanondchai, titled No History in a Room Filled with People with Funny Names 5 (2018) at Serralves Contemporary Art Museum, Porto, co-produced with Alex Gjovic and boychild. The body enacts a spectral, pluralistic device in the narrative strategies devised by the authors, traversing physical and spiritual dimensions in diegetic and extra-diegetic spaces, entangling subjects, territories, esoteric and spiritual traditions, postcolonial histories, and sociological dimensions.\",\"PeriodicalId\":429920,\"journal\":{\"name\":\"Intersectional Perspectives: Identity, Culture, and Society\",\"volume\":\"45 25\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2024-05-20\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Intersectional Perspectives: Identity, Culture, and Society\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.18573/ipics.124\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Intersectional Perspectives: Identity, Culture, and Society","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.18573/ipics.124","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
本文通过比较研究当代艺术家兼电影制作人阿彼察邦-韦拉斯哈古（Apichatpong Weerasethakul）的电影《回忆前世的汶美叔叔》（2010年），以及当代艺术家科拉克里特-阿鲁纳农差（Korakrit Arunanondchai）在波尔图塞拉尔韦斯当代艺术博物馆（Serralves Contemporary Art Museum, Porto）与亚历克斯-乔维奇（Alex Gjovic）和男孩儿（boychild）共同制作的短片装置《在一个满是名字滑稽的人的房间里没有历史5》（2018年），探讨了幽灵身体作为一种跨越、多元和纠缠装置的作用。在作者们设计的叙事策略中，身体成为一种幽灵般的多元装置，在话语空间和话语外空间中穿越身体和精神层面，将主体、领土、神秘和精神传统、后殖民历史和社会学层面纠缠在一起。
Spectrality and the Plural Body: A Comparative Study of the Works of Apichatpong Weerasethakul and Korakrit Arunanondchai
This article surveys the role of the spectral body as a device of transgression, multiplicity and entanglement, through a comparative study of the film Uncle Boonmee Who Recalls His Past Lives (2010), by the contemporary artist and filmmaker Apichatpong Weerasethakul, and short film installation by contemporary artist Korakrit Arunanondchai, titled No History in a Room Filled with People with Funny Names 5 (2018) at Serralves Contemporary Art Museum, Porto, co-produced with Alex Gjovic and boychild. The body enacts a spectral, pluralistic device in the narrative strategies devised by the authors, traversing physical and spiritual dimensions in diegetic and extra-diegetic spaces, entangling subjects, territories, esoteric and spiritual traditions, postcolonial histories, and sociological dimensions.
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