《扫罗之子》中的微笑:差异的检验

IF 0.1 4区艺术学 0 FILM, RADIO, TELEVISION

FILM CRITICISM Pub Date : 2021-10-14 DOI:10.3998/fc.1036

Ayesha Ahmed

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引用次数: 0

摘要

本文探讨了LászlóNemes的匈牙利大屠杀电影《索尔之子》（2015）高潮中的微笑。面对死亡，微笑是一种幸福的回应，被认为是这部电影选择问题化的象征。面部姿势以暴露雅克·德里达差异概念局限性的方式重新呈现了选择的困境。在大屠杀的讨论中，普里莫·李维和劳伦斯·L·兰格谈到死亡集中营是极端胁迫的场所，在那里，选择变得无法操作。1李维认为，这种不可操作性阻碍了对囚犯在胁迫下所犯共谋行为的解释。2匈牙利大屠杀电影《索尔之子》（Saul Fia，Nemes，2015）重新塑造了大屠杀话语中的这种困境，该片在肯定的背景下对选择提出了问题。

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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The Smile in "Son of Saul": A Test of Différence

This article investigates the smile that features in the climax of László Nemes’ Hungarian Holocaust film, Son of Saul (2015). The smile, a happy response in the face of death, is argued as emblematic of the film’s problematising of choice. The facial gesture re-presents the dilemma of choice in ways that expose the limits of Jacques Derrida’s notion of différance. In Holocaust discourse, Primo Levi and Lawrence L. Langer have spoken of death camps as sites of extreme coercion where choice was rendered inoperable. 1 This inoperability has been reflected on by Levi as a hindrance to accounting for acts of complicity committed by prisoners under duress. 2 This dilemma in Holocaust discourse is reworked in the Hungarian Holocaust film, Son of Saul ( Saul Fia , Nemes, 2015), which problematises choice in an affirmative context.

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来源期刊

FILM CRITICISM FILM, RADIO, TELEVISION-

CiteScore

0.20

自引率

0.00%

发文量

审稿时长

20 weeks

期刊介绍： Film Criticism is a peer-reviewed, online publication whose aim is to bring together scholarship in the field of cinema and media studies in order to present the finest work in this area, foregrounding textual criticism as a primary value. Our readership is academic, although we strive to publish material that is both accessible to undergraduates and engaging to established scholars. With over 40 years of continuous publication, Film Criticism is the third oldest academic film journal in the United States. We have published work by such international scholars as Dudley Andrew, David Bordwell, David Cook, Andrew Horton, Ann Kaplan, Marcia Landy, Peter Lehman, Janet Staiger, and Robin Wood. Equally important, FC continues to present work from emerging generations of film and media scholars representing multiple critical, cultural and theoretical perspectives. Film Criticism is an open access academic journal that allows readers to read, download, copy, distribute, print, search, and link to the full texts of articles, or use them for any other lawful purpose except where otherwise noted.