{"title":"非终极剪辑:死亡现实主义电影的生物政治","authors":"Ellina Sattarova","doi":"10.1016/j.ruslit.2022.12.004","DOIUrl":null,"url":null,"abstract":"<div><p>The article examines the biopolitical aspects of necrorealist cinematic experiments of the 1980s. Engaging in dialogue with Alexei Yurchak, who in his discussion of necrorealist biopolitics implicitly disavows the group’s cinematic efforts, the article shows that the “necro-” aspects of necrorealism emerged as a result of the group’s engagement with images. The cinematic medium, with its paradox of simultaneous stillness and motion, was particularly well-equipped to produce what the necrorealists called noncorpses, hybrid entities that challenge the absolute separation of the human and the inhuman, political and bare life. Paradoxically, however, the necrorealist project of dismantling boundaries was ultimately dependent on boundaries itself: the mediating shield of a cinematic screen, the safety of the editing room, and the time- and space-defying capacity of the cinematic cut.</p></div>","PeriodicalId":43192,"journal":{"name":"RUSSIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Non-final Cut: The Biopolitics of Necrorealist Cinema\",\"authors\":\"Ellina Sattarova\",\"doi\":\"10.1016/j.ruslit.2022.12.004\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<div><p>The article examines the biopolitical aspects of necrorealist cinematic experiments of the 1980s. Engaging in dialogue with Alexei Yurchak, who in his discussion of necrorealist biopolitics implicitly disavows the group’s cinematic efforts, the article shows that the “necro-” aspects of necrorealism emerged as a result of the group’s engagement with images. The cinematic medium, with its paradox of simultaneous stillness and motion, was particularly well-equipped to produce what the necrorealists called noncorpses, hybrid entities that challenge the absolute separation of the human and the inhuman, political and bare life. Paradoxically, however, the necrorealist project of dismantling boundaries was ultimately dependent on boundaries itself: the mediating shield of a cinematic screen, the safety of the editing room, and the time- and space-defying capacity of the cinematic cut.</p></div>\",\"PeriodicalId\":43192,\"journal\":{\"name\":\"RUSSIAN LITERATURE\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2023-09-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"RUSSIAN LITERATURE\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://www.sciencedirect.com/science/article/pii/S0304347922001284\",\"RegionNum\":3,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LITERATURE, SLAVIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"RUSSIAN LITERATURE","FirstCategoryId":"1085","ListUrlMain":"https://www.sciencedirect.com/science/article/pii/S0304347922001284","RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERATURE, SLAVIC","Score":null,"Total":0}
The Non-final Cut: The Biopolitics of Necrorealist Cinema
The article examines the biopolitical aspects of necrorealist cinematic experiments of the 1980s. Engaging in dialogue with Alexei Yurchak, who in his discussion of necrorealist biopolitics implicitly disavows the group’s cinematic efforts, the article shows that the “necro-” aspects of necrorealism emerged as a result of the group’s engagement with images. The cinematic medium, with its paradox of simultaneous stillness and motion, was particularly well-equipped to produce what the necrorealists called noncorpses, hybrid entities that challenge the absolute separation of the human and the inhuman, political and bare life. Paradoxically, however, the necrorealist project of dismantling boundaries was ultimately dependent on boundaries itself: the mediating shield of a cinematic screen, the safety of the editing room, and the time- and space-defying capacity of the cinematic cut.
期刊介绍:
Russian Literature combines issues devoted to special topics of Russian literature with contributions on related subjects in Croatian, Serbian, Czech, Slovak and Polish literatures. Moreover, several issues each year contain articles on heterogeneous subjects concerning Russian Literature. All methods and viewpoints are welcomed, provided they contribute something new, original or challenging to our understanding of Russian and other Slavic literatures. Russian Literature regularly publishes special issues devoted to: • the historical avant-garde in Russian literature and in the other Slavic literatures • the development of descriptive and theoretical poetics in Russian studies and in studies of other Slavic fields.