An Examination of Red Dragon (2002) in Light of the Deleuzian Theory of Becoming‑Animal

IF 0.2 0 FILM, RADIO, TELEVISION CINEJ Cinema Journal Pub Date : 2023-12-20 DOI:10.5195/cinej.2023.363
Kemal Yardimci
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Abstract

This paper explores the character development in the movie Red Dragon (2002) in relation to the Deleuzian theory of becoming-animal, and paintings by William Blake. A character analysis is made on Francis Dolarhyde in light of the theory of becoming, and parallels are drawn between connectionism and relationality, apparent in both Blake’s paintings and the Deleuzian theory. It’s argued that the theory of becoming‑animal resonates with the character development in the film, and the connectivity and contradictions of concepts in Blake’s paintings by which Dolarhyde’s character is inspired. Dolarhyde’s character is described in terms of a continuous, non‑teleological process where he disrupts binaries between the man persona and the dragon alter ego, and is characterized by virtue of his becoming.
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从德勒兹的 "成为动物 "理论审视《红龙》(2002 年
本文结合德勒兹的 "成为动物 "理论和威廉-布莱克的绘画作品,探讨了电影《红龙》(2002 年)中的人物发展。根据 "成为 "理论对弗朗西斯-杜尔进行了人物分析,并对布莱克的绘画和德勒兹理论中明显存在的联结主义和关系性进行了比较。影片认为,"成为动物 "的理论与影片中的人物发展产生了共鸣,布莱克画作中的概念之间存在着联系和矛盾,而 Dolarhyde 的角色正是从布莱克的画作中获得灵感的。杜尔的性格被描述为一个持续的、非线索学的过程,他在这一过程中打破了人的角色和龙的另一个自我之间的二元对立,并以他的 "成为 "为特征。
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CINEJ Cinema Journal
CINEJ Cinema Journal FILM, RADIO, TELEVISION-
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