Nedavno
je pokrenut novi naučni časopis pod rečitim nazivom – HUMANISTIKA,
podnaslovljen kao „časopis za istraživanja u društvenim i humanističkim naukama“.
U njegovom prvom broju objavljen je i jedan moj naučni rad na temu srpskog horor filma (za detalje, vidi
niže)...
Izdavač
ovoga je Centar za studije medija i komunikacija, glavni i odgovorni urednik je
Dr Boban Tomić a redakciju časopisa čine Dr Vladimir Kolarić, Dr Milorad Ðurić,
Dr Andrijana Rabrenović i MA Jelena Ðurović. Časopis izlazi šestomesečno (u
martu i septembru). Radovi objavljeni u časopisu nalaze se u elektronskom
izdanju na adresi: www.humanistika.net
Čitav
prvi broj možete naći ovde: http://humanistika.net/humanistika-vol-i-broj-1-mart-2017/
Evo
šta tu ima.
Sadržaj
MEDIJI I
KOMUNIKACIJE
KULTURA FILMA
DIGITALNA
HUMANISTIKA
Moj
rad je originalno pisan za jedan inostrani temat koji se na kraju nije desio,
pa stoga postoji u verziji na engleskom koja je ovde objavljena, ali to većini
vas koji ovo čitate neće mnogo smetati, ako vas tema zanima. A koja je tema?
Ukratko, kako se u srpskim hororima prikazuju TELO (i seksualnost i smrtnost).
Konkretnije, evo kako glasi APSTRAKT.
This paper aims to investigate the body of, and in,
Serbian horror film, which is slim in the number of titles, but rich and diverse
in their accomplishments. Looking at the films from the standpoint of the
body's role and presentation, new perspectives are opened for understanding the
impressions of bleakness and doom which hang over them. If the body gothic
genre in general may provide for temporary and imaginary escape or release from
the constraints of embodiment via fantastic re-shapings, transformations or
hybridisations, in Serbian horror films there is no transgression nor
transformation – corporality seems inescapable while characters are constrained
and doomed in vicious circles of repetition.
More specifically, sexuality leads to damnation or is
damnation itself in Djordje Kadijević's The She-Butterfly (Leptirica, 1973) and
A Holy Place (Sveto mesto, 1990); there is no escape from the body, and the
autopsy, with which the film ends, reduces its protagonist to dead meat in
GASP! aka The Backbone (Kičma, Vlatko Gilić, 1975); Variola Vera (Goran
Marković, 1982) uses the smallpox disease as a metaphor for the unhealthy system
of the socialist Yugoslavia and sees the virus as eternal, inescapable,
constantly mutating; in The Life and Death of a Porno Gang (Život i smrt porno
bande, Mladen Djordjević, 2009) there is no possibility for real, lasting
emancipation: transgressive individualists' bodies are sold for fun and profit;
finally, A Serbian Film (Srpski film, Srdjan Spasojević, 2010) presents its
characters as literally and metaphorically raped from birth; it depicts body as
a pleasure dome, as Hell, and as a weapon which is, ultimately,
self-destructive.
Close reading and motif analysis of representative
Serbian horrors prove that the bleakness in them is more than a mere genre
trope: the darkness in these films is rooted in a cultural and spiritual crisis
which is not alleviated by the change of system (from socialist to neo-liberal capitalist state) but is even
more pronounced.
Keywords: Serbia, horror, film, body, sex, disease,
metaphor, transgression, transcendence, pessimism
Eto,
ako vas to zanima, moj rad možete pročitati onlajn, pa i skinuti za buduća
pokoljenja, ako kliknete OVDE.
