特效:《德鲁伊等人》中情节剧的重新配置(《铁锈与骨头》,奥迪亚,2012)

J. Dobson
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引用次数: 0

摘要

雅克·欧迪亚的《铁锈与骨头》进一步展示了这位电影人对类型混合的强大叙事、电影和情感影响的持续关注——在这种情况下,现实主义和情节戏剧模式的巧妙混合。本文将欧迪亚的电影置于情节剧方法转变的更广泛的批评背景中,并认为《铁锈与骨头》代表了情节剧模式的重要重新定位,重新配置了与情节剧相关的具体化痛苦的比喻,使身体重新成为情感交流、社会代理和抵抗的场所。文章的结论是,虽然评论界和大众对这部电影的接受都集中在它使用的特效上,用来支持玛丽昂·歌迪亚(Marion Cotillard)作为一个双腿截肢者的表演,但这部电影对情节剧的重新利用可以看出,它创造了一种同样引人注目的特殊效果。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Special affects: reconfiguring melodrama in De rouille et d’os (Rust and Bone, Audiard, 2012)
Abstract Jacques Audiard’s De rouille et d’os/Rust and Bone provides a further example of this filmmaker’s sustained attention to the powerful narrative, filmic and affective impacts of genre hybridisation – in this case the knowing mix of realist and melodramatic modes. This article sets Audiard’s film in the broader critical context of shifting approaches to melodrama and argues that Rust and Bone represents an important re-purposing of the melodramatic mode that reconfigures the trope of embodied suffering associated with melodrama, to resituate the body as a site of affective communication, social agency and resistance. The article concludes by suggesting that, whilst critical and popular reception of the film has focused on its use of the special effects used to support Marion Cotillard’s performance as a double amputee, the film’s re-purposing of melodrama can be seen to create a special affect that is no less striking.
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来源期刊
Studies in French Cinema
Studies in French Cinema FILM, RADIO, TELEVISION-
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