Biblioteca Digital de VanguardiaCINEMATIC SABOTAGES: HITCHCOCK, TARANTINO, AND ALMODÓVAR
This essay considers the theme of sabotage in Hitchcock, especially in his British film Sabotage, in terms of Manuel Asensi’s syllogistic theory. It also analyzes similar subversive themes in two contemporary movies, Quentin Tarantino’s Inglourious Basterds and Pedro Almodóvar’s Volver. The literal...
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| Formato: | info:eu-repo/semantics/article |
| Lenguaje: | Español |
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Centro de Investigaciones y Estudios sobre Cultura y Sociedad
2015
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/astrolabio/article/view/12476 http://biblioteca-repositorio.clacso.edu.ar/handle/CLACSO/35552 |
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| author | Stallings, Gregory Charles |
| author_facet | Stallings, Gregory Charles |
| author_sort | Stallings, Gregory Charles |
| collection | Repositorio |
| description | This essay considers the theme of sabotage in Hitchcock, especially in his British film Sabotage, in terms of Manuel Asensi’s syllogistic theory. It also analyzes similar subversive themes in two contemporary movies, Quentin Tarantino’s Inglourious Basterds and Pedro Almodóvar’s Volver. The literal sabotage in Hitchcock’s film (the placement of bombs in relation to cinema) is combined with the murder of the husband (treating him like a piece of meat) in order to constitute a figure of radical cinema not only as anti-auretic art (in the sense of the work of art in the age of mechanical reproduction according to Walter Benjamin) but also, in terms of Manuel Asensi, as an athtetic text in which the enthymematic syllogism which informs the fascist model of the world (society and politics are like an artistic work based on pure forms) is deconstructed. Inglourious Basterds and Volver go further than Hitchcock’s Sabotaje by offering hospitality to the subaltern in the wake of sabotaged syllogisms. Criticism as sabotage allows us to see the subversive dimension of these and other films. At the same time, an analysis of cinematic sabotages may serve to illuminate the political impact of Asensi’s theory of criticism as sabotage.The theoretical base of this article is Manuel Asensi’s book Crítica y sabotaje which demonstrates that literary and film works have a performative function. They are discourses which modelize subjects in the world. Such modelizations occur unconsciously inasmuch as each discourse contains a syllogism which implies a model of the world. Criticism as sabotage is an instrument for revealing these hidden modelizing syllogisms in works. Some texts such as the films studied in this article explicitly sabotage the models of the world that historically have served to repress us, in such a way that criticism as sabotage joins with the Walter Benjamin’s vision of a new art that would be capable of exploding the aura (the cult values inseparable from fascism) associated with classic art. As a mechanically reproduced art, cinema for Benjamin possessed this explosive potential. This is precisely the same sabotaging vision that we find in the films analyzed in this essay. |
| format | info:eu-repo/semantics/article |
| id | clacso-CLACSO35552 |
| institution | CLACSO, Repositorio Digital |
| language | Español |
| publishDate | 2015 |
| publisher | Centro de Investigaciones y Estudios sobre Cultura y Sociedad |
| record_format | greenstone |
| spelling | clacso-CLACSO355522022-03-17T13:26:37Z CINEMATIC SABOTAGES: HITCHCOCK, TARANTINO, AND ALMODÓVAR SABOTAJES CINEMATOGRÁFICOS: HITCHCOCK, TARANTINO Y ALMODÓVAR Stallings, Gregory Charles Palabras claves Crítica como sabotaje. Silogismo. Hitchcock. Aura. Subalterno. This essay considers the theme of sabotage in Hitchcock, especially in his British film Sabotage, in terms of Manuel Asensi’s syllogistic theory. It also analyzes similar subversive themes in two contemporary movies, Quentin Tarantino’s Inglourious Basterds and Pedro Almodóvar’s Volver. The literal sabotage in Hitchcock’s film (the placement of bombs in relation to cinema) is combined with the murder of the husband (treating him like a piece of meat) in order to constitute a figure of radical cinema not only as anti-auretic art (in the sense of the work of art in the age of mechanical reproduction according to Walter Benjamin) but also, in terms of Manuel Asensi, as an athtetic text in which the enthymematic syllogism which informs the fascist model of the world (society and politics are like an artistic work based on pure forms) is deconstructed. Inglourious Basterds and Volver go further than Hitchcock’s Sabotaje by offering hospitality to the subaltern in the wake of sabotaged syllogisms. Criticism as sabotage allows us to see the subversive dimension of these and other films. At the same time, an analysis of cinematic sabotages may serve to illuminate the political impact of Asensi’s theory of criticism as sabotage.The theoretical base of this article is Manuel Asensi’s book Crítica y sabotaje which demonstrates that literary and film works have a performative function. They are discourses which modelize subjects in the world. Such modelizations occur unconsciously inasmuch as each discourse contains a syllogism which implies a model of the world. Criticism as sabotage is an instrument for revealing these hidden modelizing syllogisms in works. Some texts such as the films studied in this article explicitly sabotage the models of the world that historically have served to repress us, in such a way that criticism as sabotage joins with the Walter Benjamin’s vision of a new art that would be capable of exploding the aura (the cult values inseparable from fascism) associated with classic art. As a mechanically reproduced art, cinema for Benjamin possessed this explosive potential. This is precisely the same sabotaging vision that we find in the films analyzed in this essay. Este ensayo considera el tema de sabotaje en Hitchcock, en especial su película británica Sabotaje, en términos de la teoría silogística de Manuel Asensi. También analiza temas subversivos semejantes en dos obras contemporáneas, Malditos bastardos de Quentin Tarantino y Volver de Pedro Almodóvar. Los sabotajes literales en la película de Hitchcock (la colocación de bombas en relación con el cine) se combinan con la matanza de un esposo (tratándole como un pedazo de carne) para figurar un cine radical no solo como un arte anti-aurético (en el sentido del arte mecánicamente reproducido de Walter Benjamin) sino también como un texto atético, en términos de Asensi, para desconstruir el silogismo entimemático que informa el modelo del mundo (la sociedad y la política son como una obra artística de formas puras) al fondo del fascismo histórico. Malditos bastardos y Volver van más allá de Sabotaje de Hitchcock al ofrecer un hospedaje al subalterno en pos de los silogismos saboteados. La crítica como sabotaje nos ayuda a ver la dimensión subversiva de estas y otras películas. Al mismo tiempo, el análisis de los sabotajes cinematográficos pone en relieve el impacto político de la teoría de Asensi de la crítica como sabotaje.El fondo teórico de este artículo es el libro Crítica y sabotaje de Manuel Asensi que demuestra que las obras literarias y fílmicas tienen una función performativa. Son discursos que modelizan sujetos en el mundo. Tales modelizaciones ocurren de una manera inconsciente puesto que cada discurso contiene un silogismo que implica un modelo del mundo. La crítica como sabotaje es un instrumento para revelar estos silogismos modelizantes escondidos en las obras. Algunos textos como las películas estudiadas en este artículo explícitamente sabotean los modelos del mundo que históricamente han servido para reprimirnos, de modo que la crítica como sabotaje se une a la visión de Walter Benjamin del arte nuevo capaz de estallar el aura (los valores del culto inseparables del fascismo) asociado con el arte clásico. El cine para Benjamin, siendo un arte mecánicamente reproducido, ténia esta potencia explosiva. Es precisamente la misma visión saboteadora que encontramos en las películas analizadas en este ensayo 2015-12-28 2022-03-17T13:26:36Z 2022-03-17T13:26:36Z info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion https://revistas.unc.edu.ar/index.php/astrolabio/article/view/12476 http://biblioteca-repositorio.clacso.edu.ar/handle/CLACSO/35552 spa https://revistas.unc.edu.ar/index.php/astrolabio/article/view/12476/13481 application/pdf Centro de Investigaciones y Estudios sobre Cultura y Sociedad Astrolabio; Núm. 15 (2015): DERIVAS DE LA MEMORIA EN LA PRODUCCIÓN INTELECTUAL Y ARTÍSTICA; 217-238 1668-7515 |
| spellingShingle | Palabras claves Crítica como sabotaje. Silogismo. Hitchcock. Aura. Subalterno. Stallings, Gregory Charles CINEMATIC SABOTAGES: HITCHCOCK, TARANTINO, AND ALMODÓVAR |
| title | CINEMATIC SABOTAGES: HITCHCOCK, TARANTINO, AND ALMODÓVAR |
| title_full | CINEMATIC SABOTAGES: HITCHCOCK, TARANTINO, AND ALMODÓVAR |
| title_fullStr | CINEMATIC SABOTAGES: HITCHCOCK, TARANTINO, AND ALMODÓVAR |
| title_full_unstemmed | CINEMATIC SABOTAGES: HITCHCOCK, TARANTINO, AND ALMODÓVAR |
| title_short | CINEMATIC SABOTAGES: HITCHCOCK, TARANTINO, AND ALMODÓVAR |
| title_sort | cinematic sabotages: hitchcock, tarantino, and almodóvar |
| topic | Palabras claves Crítica como sabotaje. Silogismo. Hitchcock. Aura. Subalterno. |
| url | https://revistas.unc.edu.ar/index.php/astrolabio/article/view/12476 http://biblioteca-repositorio.clacso.edu.ar/handle/CLACSO/35552 |