鲁本失控Östlund不可抗力

Q3 Arts and Humanities
A. Johansson
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引用次数: 0

摘要

鲁本·奥斯特伦德的电影《不可抗力》(2014)大多被认为是对男性气质危机的描述。的确如此,但这个特定的主题也被置于一个更大的背景下,涉及价值、理解、秩序和控制的问题,这些问题不仅是在主题层面上提出的,而且是通过剪切、取景和使用相机视图提出的。不可抗力不接受任何形式和意义之间的简单二分法,它将自己牢牢地置于前卫和现代主义的传统中。因此,这部电影也与这一传统的野心有关,即重新研究西方思想、知识和艺术,对给定的理性思维形式提出问题,以期出现新的东西。在第二次世界大战之后,对于像阿多诺、福柯、斯托克豪森和布列兹这样的思想家来说,解构使奥斯威辛成为可能的惯例和规范是不可避免的,也是紧迫的。它仍然很紧急。本文从音乐先锋系列主义、福柯的系列主义研究方法和德勒兹的现代主义电影理论之间的联系入手,来把握《不可抗力》的美学是如何继续解构的。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
UNCONTROL ON RUBEN ÖSTLUND’S FORCE MAJEURE
Ruben Östlund’s film Force Majeure (2014) was mostly received as a depiction of the crisis of masculinity. And it is, but that particular theme is also placed within a larger context concerning questions of value, understanding, order, and control, questions asked not only on a thematic level but also through cutting, framing, and the use of camera views. Not accepting any simple dichotomy between form and meaning, Force Majeure places itself firmly in an avant- garde and modernist tradition. Thereby the film is also related to this tradition’s ambition of investigating Western thought, knowledge and art anew, problematising given forms of rational thinking in order for something new to emerge. In the wake of World War II it was, for thinkers like Adorno, Foucault, Stockhausen, and Boulez, seen as unavoidable and urgent to deconstruct the conventions and norms that had made Auschwitz possible. It is still urgent. This article takes its starting point in the connections between avant-garde serialism in music, Foucault’s serialist methods of research and Deleuze’s theories of modernist film, in order to grasp how the aesthetics of Force Majeure continues to deconstruct.
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来源期刊
Nordic Journal of Aesthetics
Nordic Journal of Aesthetics Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.20
自引率
0.00%
发文量
21
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