Kaip padaryta "Mae West": kempas ir naratyviniai ekscesai

LTStraipsnyje keliamas klausimas, kaip daugialypių - lyties, kūno, amžiaus, rasės - kultūrinių konvencijų ardymą (transgresiją) kine galima apčiuopti kino pasakojimo struktūroje ir „išversti" šią transgresiją į naratologijos terminus. Mae West filmų pavyzdžiu parodoma, kad naratyvinis ekscesas yra kino pasakojimo elementas, kuriantis naratyvinio rišlumo pertrūkius ir kaupiantis/skleidžiantis kritinį santykį su minėtomis konvencijomis. Siūloma naratyvinių ekscesų tipologija: kumuliatyvusis, intertekstinis, diegetinis, diskursinis/stilistinis. [Iš leidinio]Reikšminiai žodžiai: Mae West; Kempas; Kūnas; Naratologija; Ekscesas; Mae West; Camp; Body; Narratology; Excess.

ENArticle raises the question of how to trace the subversion of diverse cultural conventions (transgression) - of gender, body, age, race - in the structure of film narrative and to convert these types of transgression into narratology terms. Employing the example of Mae West films, it is shown how a narrative excess (Kristin Thompson, Peter Verstraten, Miriam Hansen and others) becomes an element of cinematic narrative, creating ruptures in narrative coherence and accumulating/escalating critical relation with the conventions mentioned. Narrative excess is a historically specific and therefore altering modes and forms of ruptures in narrative coherence, which retains critical reflection on (ideological) foundations of cinematic apparatus. The suggested types of narrative excess are: cumulative, intertextual knot, diegetic, discursive/stylistic. Cumulative narrative excess is employed in stories which at least in part are supported not by narrative events, but by repeating elements of cinema of attractions (Tom Gunning), reducing foundations of cinema narrative based on time/space continuity. An intertextual knot is formed when a certain fragment of narrative refers to diverse texts and also employs different (multimedial) types of intertextual relations. Diegetic excess is created by elements of the diegetic world, which use iconic image or word to mark artificiality or redundancy, in the case of Mae West films, redundancy of femininity/whiteness/ youth/etc.The latter type of narrative excess is sometimes difficult to distinguish from discursive/stylistic excess, which is created by forms of expression not motivated by the story. This perception of the relationship between subversion of cultural conventions (transgression) and the structure of narrative enables us to explain the process by which some artists, in this case Mae West, gain cult following in certain cultural segments, for example, in camp culture (Susan Sontag). [From the publication]

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