{"title":"侏罗纪世界:堕落王国作为 21 世纪哥特故事的《侏罗纪世界:堕落王国","authors":"Xiana Vázquez Bouzó","doi":"10.26754/ojs_misc/mj.20237347","DOIUrl":null,"url":null,"abstract":"This paper considers Juan Antonio Bayona’s 2018 film Jurassic World: Fallen Kingdom as a Gothic film which disrupts the archetypal conventions of monster films, especially in relation to the antispeciesist conception of monsters —in this case, the genetically-engineered dinosaurs which feature in the Jurassic Park and Jurassic World sagas. Through an analysis of its cinematography, character construction, scenarios and plot development in the light of Gothic Studies, I will argue that this film is not just Gothic in appearance, but also in the sense that itbreaks with contemporary anthropocentric conventions of normalcy, unity and species boundaries, and that it confirms the trend in filmic narratives that takes into account the monsters’ perspectives in order to challenge human exceptionalism.","PeriodicalId":508034,"journal":{"name":"Miscelánea: A Journal of English and American Studies","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2023-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Jurassic World: Fallen Kingdom as a 21st-Century Gothic Tale\",\"authors\":\"Xiana Vázquez Bouzó\",\"doi\":\"10.26754/ojs_misc/mj.20237347\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This paper considers Juan Antonio Bayona’s 2018 film Jurassic World: Fallen Kingdom as a Gothic film which disrupts the archetypal conventions of monster films, especially in relation to the antispeciesist conception of monsters —in this case, the genetically-engineered dinosaurs which feature in the Jurassic Park and Jurassic World sagas. Through an analysis of its cinematography, character construction, scenarios and plot development in the light of Gothic Studies, I will argue that this film is not just Gothic in appearance, but also in the sense that itbreaks with contemporary anthropocentric conventions of normalcy, unity and species boundaries, and that it confirms the trend in filmic narratives that takes into account the monsters’ perspectives in order to challenge human exceptionalism.\",\"PeriodicalId\":508034,\"journal\":{\"name\":\"Miscelánea: A Journal of English and American Studies\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-12-19\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Miscelánea: A Journal of English and American Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.26754/ojs_misc/mj.20237347\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Miscelánea: A Journal of English and American Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.26754/ojs_misc/mj.20237347","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
本文探讨了胡安-安东尼奥-巴约纳(Juan Antonio Bayona)于 2018 年执导的电影《侏罗纪世界:堕落王国》(Jurassic World:堕落王国》是一部哥特式电影,它打破了怪兽电影的原型惯例,尤其是与怪兽的反种群主义概念有关--在本例中,怪兽是《侏罗纪公园》和《侏罗纪世界》传奇中的基因工程恐龙。通过从哥特式研究的角度对影片的摄影、人物塑造、场景和情节发展进行分析,我将论证本片不仅在外观上具有哥特式风格,而且在意义上打破了当代人类中心主义关于正常性、统一性和物种界限的传统,并证实了电影叙事中考虑怪物视角以挑战人类特殊性的趋势。
Jurassic World: Fallen Kingdom as a 21st-Century Gothic Tale
This paper considers Juan Antonio Bayona’s 2018 film Jurassic World: Fallen Kingdom as a Gothic film which disrupts the archetypal conventions of monster films, especially in relation to the antispeciesist conception of monsters —in this case, the genetically-engineered dinosaurs which feature in the Jurassic Park and Jurassic World sagas. Through an analysis of its cinematography, character construction, scenarios and plot development in the light of Gothic Studies, I will argue that this film is not just Gothic in appearance, but also in the sense that itbreaks with contemporary anthropocentric conventions of normalcy, unity and species boundaries, and that it confirms the trend in filmic narratives that takes into account the monsters’ perspectives in order to challenge human exceptionalism.