{"title":"格斯·范·桑特(Gus Van Sant)的节目《男孩》(boys)中支离破碎的身份","authors":"D. Gomes","doi":"10.4013/VER.2016.30.75.06","DOIUrl":null,"url":null,"abstract":"This article aims to explore Gus Van Sant’s film My Own Private Idaho (1991) starting from different approaches on the perception of the fragmentation of contemporary cultural identity from the perspective of cultural studies. We use especially the propositions from the authors Stuart Hall and Tomaz Tadeu da Silva in order to understand how this fragmentation condition configured in the film and its characters. Keywords : identity, fragmentation, My Own Private Idaho, Gus Van Sant.","PeriodicalId":30199,"journal":{"name":"Verso e Reverso","volume":"30 1","pages":"214-220"},"PeriodicalIF":0.0000,"publicationDate":"2016-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Identidades fragmentadas em Garotos de Programa de Gus Van Sant\",\"authors\":\"D. Gomes\",\"doi\":\"10.4013/VER.2016.30.75.06\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This article aims to explore Gus Van Sant’s film My Own Private Idaho (1991) starting from different approaches on the perception of the fragmentation of contemporary cultural identity from the perspective of cultural studies. We use especially the propositions from the authors Stuart Hall and Tomaz Tadeu da Silva in order to understand how this fragmentation condition configured in the film and its characters. Keywords : identity, fragmentation, My Own Private Idaho, Gus Van Sant.\",\"PeriodicalId\":30199,\"journal\":{\"name\":\"Verso e Reverso\",\"volume\":\"30 1\",\"pages\":\"214-220\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2016-05-12\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Verso e Reverso\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.4013/VER.2016.30.75.06\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Verso e Reverso","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.4013/VER.2016.30.75.06","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
本文旨在从文化研究的角度出发，从不同的视角来探讨格斯·范·桑特的电影《我自己的私人爱达荷》(1991)对当代文化认同碎片化的认知。我们特别使用作者Stuart Hall和Tomaz Tadeu da Silva的命题来理解这种分裂状态是如何在电影及其角色中形成的。关键词:身份，碎片化，我的私人爱达荷，格斯·范·桑特。
Identidades fragmentadas em Garotos de Programa de Gus Van Sant
This article aims to explore Gus Van Sant’s film My Own Private Idaho (1991) starting from different approaches on the perception of the fragmentation of contemporary cultural identity from the perspective of cultural studies. We use especially the propositions from the authors Stuart Hall and Tomaz Tadeu da Silva in order to understand how this fragmentation condition configured in the film and its characters. Keywords : identity, fragmentation, My Own Private Idaho, Gus Van Sant.
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