Successfully and deliciously fugacious: re-interpreting the “failed” fat relationship in Percy Adlon’s Zuckerbaby (1985)

IF 0.8 Q3 SOCIAL SCIENCES, INTERDISCIPLINARY Fat Studies-An Interdisciplinary Journal of Body Weight and Society Pub Date : 2022-02-02 DOI:10.1080/21604851.2022.2031581
Erin Gizewski
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Abstract

ABSTRACT Often overlooked in lieu of his Oscar-winning film, Bagdad Café (1987), Percy Adlon’s German film Zuckerbaby tells the tale of a nameless fat woman. An excessively mundane mortuary assistant, she falls in love with a married nonfat man, Huber. The protagonist stalks Huber at his job, coaxing him with food until he finally comes over for dinner. There, their passionate affair begins and abruptly ends – “unsuccessful” and fugacious – typically leaving the fat protagonist alone once again. Yet Zuckerbaby’s complex form and seemingly straightforward end beg to be re-interpreted via formal film techniques to showcase the complicated nature and rich lasting presence of this fat/nonfat relationship. Using notions of serious camp and fatt queer history, I explore how elements of perishability permeate the lovers’ relationship and create a formal, visual cinematic space without hierarchy of future and past. This allows both the film's protagonist lovers as well as the film's viewers to resist normative romantic notions of the future and instead revel in the fulfilling elements of a new present influenced by the past, or idea “the fat before” of serious camp. Just as the protagonist extends her hand and offers the viewer a candy bar, I argue the audience is beckoned to look with new notions of delicious fugacity in the present. Liberating their affair from mundane plot elements and an oppressive, one-dimensional fat love rooted in notions of a “successful” future, Adlon’s Zuckerbaby offers a movingly rich, fulfilling, and complexly present portrayal of a fat relationship when re-read via an academic lens.
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成功而又美妙的飘忽:重新诠释珀西·阿德隆的《朱克宝贝》(1985)中“失败”的肥胖关系
珀西•阿德隆执导的德国电影《扎克贝比》(Zuckerbaby)经常被人们所忽视,它讲述了一个不知名的胖女人的故事。一个过于平凡的太平间助理,她爱上了一个已婚的胖子,Huber。主人公在胡贝尔上班的时候跟踪他,用食物哄他,直到他最后过来吃晚饭。在那里,他们充满激情的恋情开始又突然结束——“不成功”且短暂——通常会让肥胖的主角再次独自一人。然而,Zuckerbaby的复杂形式和看似简单的结局需要通过正式的电影技术来重新诠释,以展示这种脂肪/非脂肪关系的复杂本质和丰富持久的存在。利用严肃的坎普和丰富的酷儿历史的概念,我探索了易腐烂的元素如何渗透到恋人的关系中,并创造了一个没有未来和过去等级的正式的视觉电影空间。这使得电影的主角恋人和电影的观众都抵制了对未来的规范浪漫观念,而是陶醉于受过去影响的新现在的充实元素,或者是严肃阵营的“以前的肥胖”观念。就像主人公伸出手递给观众一块糖果一样,我认为这是在召唤观众用一种新的观念来看待当下的美味。阿德隆的《朱克曼宝贝》将他们的恋情从世俗的情节元素和根植于“成功”未来观念的压抑的、单一的肥胖爱情中解放出来,通过学术视角重新解读,它提供了一个感人的、丰富的、令人满意的、复杂的肥胖关系写照。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
1.80
自引率
20.00%
发文量
32
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