Kjubrikov neobarokni spektakl: estetska analiza artificijenosti i nasilja u "Paklenoj pomorandži"
DOI:
https://doi.org/10.21301/eap.v12i2.7Ključne reči:
Paklena pomorandža, Stenli Kjubrik, neobarokni toposi, estetska anaiza, spektakl, nasiljeApstrakt
U ovom tekstu se ispituje film Stenlija Kjubrika Paklena pomorandža kroz koncept neobaroka. Pošavši od osnovnih elemenata mizanscena kao što su kostimi, scenografija i pozicioniranje tela unutar kadra, estetska analiza filma će otići korak dalje, ka apstraktnim konceptima poput spektakla i nasilja. Identifikujući takve elemente u filmu, smatram da se film može razumeti kao neobarokni. Neobarokni film ne označava ni žanr ni period u filmskoj istoriji. To je estetički termin, s implicitnim referencama na moderno društvo, koji otkriva specifičnu ali i dinamičku konstelaciju izražajnih i tematskih elemenata u datom filmu. Povremeni osvrti na baroknu umetnost uključeni su ne zato da bi učinili bližim veze između dva perioda umetničkog izražavanja, već da bi sugerisali i jasnije pokazali na koji način se neobarokni koncepti odnose prema baroknim. Paklena pomorandža nije jedini neobarokni film. Međutim, ono po čemu se Paklena pomorandža izdvaja jeste broj crta, neobaroknih toposa koje film sadrži. U ovom članku ja ću ukazati na najznačajnije neobarokne crte, tesno povezane s estetikom filma.
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