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Pregled bibliografske jedinice broj: 775929

Zbornik radova

Autori: Marjanić, Suzana
Naslov: 1. Representation of evil in documentary films on rights, for example the liberation of animals or the destruction of nature by culture
Izvornik: Centre of excellence in cultural theory, VIII annual conference, Live theory and lived culture: between concepts and imaginations / Monika Tasa (ur.). - Tartu : Centre of excellence in cultural theory , 2015. 39-39 (ISBN: 978-9949-9360-6-9).
Skup: Centre of excellence in cultural theory, VIII annual conference, Live theory and lived culture: between concepts and imaginations
Mjesto i datum: Tartu, Estonija, 22.-24. travnja 2015.
Ključne riječi: animal rights; Georges Franju; Shaun Monson; slaughterhouses
Sažetak:
As the title suggests, in this article I seek to document the representation of evil in documentary films on rights i.e. liberation of animals, based on the ethical statement by film director Shaun Monson (Earthlings, 2005) with which he posed the need to behold the evilness of the industrial concentration camps of death since – as he defined it – the animals suffered physically, and all we have to do is to see it (with our own eyes). Thereby I will “shed light” on the aforementioned evil with the chapter The Problem of Evil from the academic novel Elizabeth Costello: Eight Lessons (2003) by J. M. Coetzee, in which Elizabeth Costello is invited to a conference in Amsterdam to address the age-old, as she herself put it, problem of evil – i.e. to try to elaborate as to “why there is evil in the world, what if anything can be done about it.” In brief, due to the performative nature of the text, Elizabeth Costello is deeply convinced that a text on evil, the mimesis of evil, can contaminate the text itself, the authorial ethos, and continue to project, perpetuate the textual mimeticised evil. Admittedly, as in the lecture on realism, Elizabeth Costello finds the solution in a paradox: she acknowledges that she herself used to apply the same strategy – she was demonstrating as to what happens in slaughterhouses as variants of concentration camps or, as she herself put it: “[…] if Satan is not rampant in the abattoir, where is he?” Indeed, the aforementioned, so-called obscene strategy is applied by J. M. Coetzee as well as by all documentary films on rights i.e. liberation of animals. Finally, I will address the short (20’) documentary film Le sang des bêtes (The Blood of Animals, 1949) by Georges Franju, which has a cult status in cinematic history (cf. Pick 2011:132). Specifically, on the occasion of screening the aforementioned film, for which many claim that it had been filmed in colour so as to be rendered unwatchable due to the representation of evilness in a Parisian slaughterhouse, Franju made the following assertion: "[…] violence is not an end, it’s a weapon which sensitizes the spectator and which lets him see what’s lyric or poetic beyond or above the violence, or what’s tender in reality" (Franju, qtd. in Burt 2002:176).
Vrsta sudjelovanja: Predavanje
Vrsta prezentacije u zborniku: Sažetak
Vrsta recenzije: Nema recenziju
Projekt / tema: 189-0000000-3626
Izvorni jezik: ENG
Kategorija: Znanstveni
Znanstvena područja:
Etnologija i antropologija
Upisao u CROSBI: Suzana Marjanic (suzana@ief.hr), 15. Ruj. 2015. u 10:53 sati



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