Žiūrėti į žiūrintįjį : kinas ir prievarta

LTMonografijoje pristatomas prievartos metakine tyrimas, vykdytas 2016-2018 metais. Knygoje interpretuojami M. Antonioni, S. Kubricko, M. Haneke’s, A. Amenábaro kino kūriniai bei jų vizualizuotos kinematografinės prievartos formos. Monografija skirta filosofijos, kino, vizualumo, kultūros studijų specialistams, taip pat visiems, besidomintiems kino filosofijos, vizualumo ir kino teorijos klausimais. [Anotacija knygoje]Reikšminiai žodžiai: Kinas; Metakinas; Žiurovas; Prievarta; Kinematografija; Cinema; Metacinema; Viewer; Coercion; Cinematography.

EN[...] The monograph does not look at the range of various cinema genres that directly depict violence, but it analyses the metacinema and the instances of its visualised violence. Since there are many instances of the metacinema of violence, the aim is to interpret those cases that have the clearest interaction between the "film within a film" framework and the social context in which this "film within a film" is set. Although the films are discussed chronologically, this order is secondary and emphasises the various frameworks of the films and relevant social contexts. One of the most important criteria for the films discussed is the subject of the viewer. In this monograph that varies from the viewer as free to imagine, to the viewer as an accomplice, or even instances in which the viewer seems complicit in the murder. The Monograph consists of five chapters. The first chapter "Violence Liberates, Status Quo Enslaves" discusses the mythologies and paradoxes of liberating violence. Modernity itself fundamentally exposes two contrasting views on violence expressing a hope for "society without violence", but at the same time continuously appealing for violence as a instrument for rejuvenation, regeneration, crisis management and social critique.Such controversy in the mythology of violence becomes a common context for the unfolding explorations in the other chapters that interpret the twists in the mythology of violence through the perspective of different metacinematic examples. The second chapter entitled "Murder and Boredom: Blow Up by Michelangelo Antonioni" analyses the relationship between the overwhelming boredom in the social environment and the offscreen radical event (murder). The third chapter A Clockwork Orange: Is Mechanical Goodness Worse Than Freely Chosen Evil' interprets systemic violence through the perspective of A Clockwork Orange where criminals are forcefully reformed and reformatted. The fourth chapter "Reverse Catharsis in Haneke’s Metacinema" looks at the relationship between metacinema, television and video through the analysis of aforementioned Benny's Video and other Haneke films. It also dwells on the ways in which Haneke turns violence not only into a criticised target, but also into an instrument for criticism. The fifth and the last chapter of the book "Metacinema: Can a Cinematographic Image Kill?" focuses on the issue of the most extreme violence - so-called "snuff" cinema - and Haneke’s Happy End as a case of suspended ultraviolence. [Extract, p. 289-290]

• Filosofija / Philosophy
• Menotyra / Arts