克莱尔·丹尼斯的《混蛋资本家》

Rosalind Galt
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引用次数: 2

摘要

克莱尔·丹尼斯(Claire Denis)的电影始终以诱人的感官方式,让全球系统变得清晰可见。本文分析了丹尼斯的电影《Salauds》作为当代资本主义性别敌意的一个令人不安的情感舞台。它既借鉴了当代电影的政治参与理论,也借鉴了情感理论的见解,以理解电影中经济控制和性剥削的紧密联系。《悲惨世界》几乎完全以巴黎为背景,但它向外借鉴了丹尼斯早期跨国发行的电影,用米歇尔·苏博尔(Michel Subor)饰演的一个可怕的剥剥者作为共同点。本文通过萨特解读苏波尔笔下的拉波特,分析了法国文化中“salaud”的形象。它继续研究了salaud的阶级品质是如何渗透到角色之外并贯穿电影文本的。出现的是一个具有威胁性的场景,它唤起了当代资本主义在时间、空间和影响上的敌对状态。性别成为这种敌意的焦点,经济关系在遭受性折磨的女儿贾斯汀身上上演。文章提出,在这种压迫的环境中,什么样的抵抗是可以想象的。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Claire Denis’s Capitalist Bastards
The films of Claire Denis consistently make global systems visible, and do so in ways that are seductively sensory. This article analyses Denis’s film Les Salauds as a queasily affective staging of contemporary capitalism’s gendered hostility. It draws both on politically engaged theories of contemporary cinema and on the insights of affect theory to understand the film’s close imbrication of financial control and sexual exploitation. Les Salauds is almost entirely set in Paris, but it refers outward to Denis’s earlier films of transnational circulation, using Michel Subor’s performance as a monstrous exploiter as a point of commonality. The article analyses the figure of the ‘salaud’ in French culture, reading Subor’s character Laporte through Sartre. It goes on to examine how the class qualities of the salaud seep beyond character and out across the film text. What emerges is a threatening mise-en-scène that evokes the hostile condition of contemporary capitalism in its articulation of time, space and affect. Gender becomes the focus for this hostility, where economic relations are played out across the body of Justine, the sexually tortured daughter. The article asks what kinds of resistance are imaginable in this oppressive milieu.
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来源期刊
Studies in French Cinema
Studies in French Cinema FILM, RADIO, TELEVISION-
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