三只猴子(2008):遗忘、记忆和希望的潜在幽灵

IF 0.3 0 RELIGION Culture and Religion Pub Date : 2018-07-31 DOI:10.1080/14755610.2018.1500382
Craig A. Hammond
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引用次数: 0

摘要

摘要:奈瑞·比尔格·赛兰的电影唤起了风景、人物和未公开的渴望主题;在绝望和搁浅的挑衅性处境中,Ceylanian的幽会、风景和人类相遇也往往带有怀旧白日梦的转瞬即逝的色调和不言而喻的痛苦的光泽。在Ceylan的电影中,最重要的东西经常说不出来,而且仍然说不出来;随着孤独流浪者的开放密码,一些来自电影图像和对话之外的东西在搅动。《三只猴子》(ÜçMaymun)以一个夜晚的序列开始,在这个序列中,一个孤独的男人沿着一条没有灯光和与世隔绝的道路行驶;他击中了什么东西&一个人。有了这一点,雄心勃勃的政治家Servet决定开车离开尸体。这一自利的决定引发了一系列事件,很快就牵涉到了Servet司机Eyüp的生活和家庭关系。本文运用恩斯特·布洛赫、马克·奥热和弗里德里希·尼采的哲学框架,对塞兰的《三只猴子》的人物性格和叙事进行了探索、分析和探讨。
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Three Monkeys (2008): oblivion, anamnesis and the latent spectrality of hope
ABSTRACT Nuri Bilge Ceylan’s films evoke landscapes, characters and themes of undisclosed longing; with provocative situations of desperation and stranded existences, Ceylanian trysts, landscapes and human encounters also tend to be tinged with the fleeting hue of nostalgic daydream, and the lustre of unspoken aches. So often in Ceylan’s films what is most important goes unsaid, and remains unsayable; with the open ciphers of lonely wanderers, something from beyond the images and dialogue of the films stirs. Three Monkeys (Üç Maymun) starts with a night sequence in which a lone man drives along an unlit and isolated road; he hits something – a human being. With this, Servet, an ambitious politician, takes the decision to drive away and leave the body. This self-interested decision kick-starts a sequence of events which soon implicates the lives and familial relationships of Servet’s driver Eyüp. This paper explores, analyses and discusses the characters and narrative of Ceylan’s Three Monkeys, using the philosophical frameworks of Ernst Bloch, Marc Augé and Friedrich Nietzsche.
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0.30
自引率
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发文量
8
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