izabrana dela

izabrana dela

четвртак, 06. јул 2017.

No Escape from the Body: The Bleak Landscapes of Serbian horror film



            Nedavno je pokrenut novi naučni časopis pod rečitim nazivom – HUMANISTIKA, podnaslovljen kao „časopis za istraživanja u društvenim i humanističkim naukama“. U njegovom prvom broju objavljen je i jedan moj naučni rad na temu srpskog horor filma (za detalje, vidi niže)...
            Izdavač ovoga je Centar za studije medija i komunikacija, glavni i odgovorni urednik je Dr Boban Tomić a redakciju časopisa čine Dr Vladimir Kolarić, Dr Milorad Ðurić, Dr Andrijana Rabrenović i MA Jelena Ðurović. Časopis izlazi šestomesečno (u martu i septembru). Radovi objavljeni u časopisu nalaze se u elektronskom izdanju na adresi: www.humanistika.net
            Čitav prvi broj možete naći ovde: http://humanistika.net/humanistika-vol-i-broj-1-mart-2017/
            Evo šta tu ima.


Sadržaj

MEDIJI I KOMUNIKACIJE


KULTURA FILMA




DIGITALNA HUMANISTIKA

            Moj rad je originalno pisan za jedan inostrani temat koji se na kraju nije desio, pa stoga postoji u verziji na engleskom koja je ovde objavljena, ali to većini vas koji ovo čitate neće mnogo smetati, ako vas tema zanima. A koja je tema? Ukratko, kako se u srpskim hororima prikazuju TELO (i seksualnost i smrtnost). Konkretnije, evo kako glasi APSTRAKT.



This paper aims to investigate the body of, and in, Serbian horror film, which is slim in the number of titles, but rich and diverse in their accomplishments. Looking at the films from the standpoint of the body's role and presentation, new perspectives are opened for understanding the impressions of bleakness and doom which hang over them. If the body gothic genre in general may provide for temporary and imaginary escape or release from the constraints of embodiment via fantastic re-shapings, transformations or hybridisations, in Serbian horror films there is no transgression nor transformation – corporality seems inescapable while characters are constrained and doomed in vicious circles of repetition.
More specifically, sexuality leads to damnation or is damnation itself in Djordje Kadijević's The She-Butterfly (Leptirica, 1973) and A Holy Place (Sveto mesto, 1990); there is no escape from the body, and the autopsy, with which the film ends, reduces its protagonist to dead meat in GASP! aka The Backbone (Kičma, Vlatko Gilić, 1975); Variola Vera (Goran Marković, 1982) uses the smallpox disease as a metaphor for the unhealthy system of the socialist Yugoslavia and sees the virus as eternal, inescapable, constantly mutating; in The Life and Death of a Porno Gang (Život i smrt porno bande, Mladen Djordjević, 2009) there is no possibility for real, lasting emancipation: transgressive individualists' bodies are sold for fun and profit; finally, A Serbian Film (Srpski film, Srdjan Spasojević, 2010) presents its characters as literally and metaphorically raped from birth; it depicts body as a pleasure dome, as Hell, and as a weapon which is, ultimately, self-destructive.
Close reading and motif analysis of representative Serbian horrors prove that the bleakness in them is more than a mere genre trope: the darkness in these films is rooted in a cultural and spiritual crisis which is not alleviated by the change of system (from socialist  to neo-liberal capitalist state) but is even more pronounced.

Keywords: Serbia, horror, film, body, sex, disease, metaphor, transgression, transcendence, pessimism

            Eto, ako vas to zanima, moj rad možete pročitati onlajn, pa i skinuti za buduća pokoljenja, ako kliknete OVDE.


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