澳大利亚电影中的真实凝视

IF 0.4 0 FILM, RADIO, TELEVISION Studies in Australasian Cinema Pub Date : 2020-09-01 DOI:10.1080/17503175.2020.1858572
A. Horbury
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引用次数: 1

摘要

摘要:本文采用Todd McGowan对精神分析电影理论的反思,来思考这种方法可能会在国家电影的作品中揭示什么。我关注的是澳大利亚的国家电影,我认为,它被夹在审美民族主义的想象凝视和扰乱文化视野的创伤性“真实”凝视之间。我展示了泰德·科切夫(Ted Kotcheff)1971年的《恐惧中的守灵》(Wake in Fright)如何将真实凝视引入澳大利亚电影词汇中,并在电影《文艺复兴》(Renaissance)中使用了真实凝视,并扰乱了对民族主义的美学探究,而创伤的真实凝视经常被压抑在国家话语中。在这里,我建议,如果一个全国性的电影可以被视为一种“公共梦”的形式,这种真实的凝视可以作为一种全国性的症状,就像在精神分析诊所一样,困扰着主题告诉的故事本身。在绘制了《恐惧中的守灵》中这种真实凝视的出现之后,我考虑了这种视觉比喻在最近的哥特式风景电影中的重新设计,比如乔尔·安德森的《芒戈湖》(2008),然后考虑了后马博历史电影如何颠倒这种凝视的术语,使萦绕在国家想象中的东西毫不松懈地呈现在观众面前。
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The real gaze in Australian cinema
ABSTRACT This paper takes up Todd McGowan’s rethinking of psychoanalytic film theory to consider what such approaches might disclose in the work of a national cinema. I focus on Australia’s national cinema where it is caught, I argue, between the Imaginary gaze of an aestheticized nationalism and a traumatic ‘Real’ gaze that disturbs the field of cultural vision. I show how Ted Kotcheff’s 1971 Wake in Fright introduces the Real gaze to Australia’s cinematic vocabulary where it is taken up in the film Renaissance and disturbs the aesthetic inquiry into nationalism with the traumatic Real frequently repressed in national discourses. Here I suggest that if a national cinema can be seen to function as a form of ‘public dreaming,’ this Real gaze functions as a national symptom that, as in the psychoanalytic clinic, troubles the story the subject tells about itself. After mapping the emergence of this Real gaze in Wake in Fright, I consider where this visual trope is reworked in more recent Gothic landscape films, such as Joel Anderson’s Lake Mungo (2008), before considering how post-Mabo history films reverse the terms of this gaze such that what haunts the national Imaginary is put before the viewer without relent.
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来源期刊
Studies in Australasian Cinema
Studies in Australasian Cinema FILM, RADIO, TELEVISION-
CiteScore
0.50
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0.00%
发文量
7
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