非传统僵尸:塞巴斯蒂安·霍夫曼的《哈雷》(2012)中的亚文化类型、全球艺术电影和生物动力

Q2 Arts and Humanities
New Cinemas Pub Date : 2020-09-01 DOI:10.1386/NCIN_00015_1
C. Vera
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引用次数: 0

摘要

通过非传统的活死人主角和极简主义的导演风格,哈雷将类型电影和艺术电影之间的紧张关系在跨国背景下的运作表现出来。哈雷用一个保安死了却还活着的故事给观众带来了惊喜。当他的肉体腐烂时,贝托去工作,继续他孤独的生活,假装一切都很好。在这个意义上,影片呈现了一个非传统的僵尸:贝托不是怪物,他是无害的,他是一个听话的工人,但他的状态显示了他在社会中的异化。本文从电影分类的角度分析贝托的“不可能”体现,考虑到导演电影与僵尸电影等亚文化类型在跨国背景下的交集。为此,我参考了Dolores Tierney对拉丁美洲cult电影的描绘,以及Ignacio Sánchez Prado对mmacxico中全球艺术电影的分析,两者都与国际电影巡回有关。其次,本文关注贝托的活死人的社会政治意蕴。本文从生物动力的角度,追溯了活死人角色的比喻,并分析了其政治评论。本文借鉴了乔治·阿甘本(Giorgio Agamben)对人类和赤裸生命的探索,探讨了贝托的化身如何唤起他被削弱的能动性,以及其颠覆性的潜力。贝托以一种超越生死基本医学分类的身体,直面福柯的生物力观念,抵制诊所。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
An unconventional zombie: Subcultural genres, global art cinema and bio-power in Sebastian Hofmann’s Halley (2012)
With an unconventional living-dead protagonist and a minimalist auteur style, Halley brings to the fore how the tensions between genre movies and art cinema operate in a transnational context. Halley surprises the audience with the story of a security guard who is dead but remains alive. While his flesh decomposes, Beto goes to work and continues with his lonely life pretending that everything is fine. In this sense, the film presents an unconventional zombie: Beto is not a monster, he is harmless and he is an obedient worker, but his condition exhibits his alienation in society. This article analyses Beto’s impossible embodiment from the perspective of film categorization, taking into account the intersections between auteur cinema and subcultural genres such as zombie movies in a transnational context. To that end, I rely on Dolores Tierney’s mapping of cult cinema in Latin America as well as on Ignacio Sánchez Prado’s analysis of global art cinema in México, both of which are related to international film circuits. Secondly, this article focuses on the sociopolitical implications of Beto’s living-dead body. I trace the trope of the living-dead character and analyse its political commentary from the perspective of bio-power. Drawing from Giorgio Agamben’s exploration of the homo sacer and bare life, this article explores how Beto’s embodiment evokes his diminished agency but also its subversive potential. With a body that transcends basic medical categorizations of life and death, Beto confronts Foucault’s idea of bio-power and resists the clinic.
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New Cinemas
New Cinemas Arts and Humanities-Visual Arts and Performing Arts
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