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Les Représentations Troublées du Corps au Cinéma

Disturbed Representations of the Body in Film

ALAIN GABON

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BA, MA and PhD degrees from French and US universities. Professor of French at Virginia Wesleyan College in Virginia Beach, VA.  Teaches, lectures and writes on postwar France including contemporary literature, cinema and more recently Islam in France.

David Cronenberg's excessive images of Body Horror function as powerful crystallizations, elaborations and reworkings of postmodern philosophical notions linked to theories of "machinic assemblages", technological interface, "becomings", and "molecular" transformations. More specifically, by jeopardizing our beliefs and conceptions of what the human body is, these films constitute a vital space of critical reflection about the ecological mutation of our postmodern bodies and subjectivities caught up and dispersed in techno-capitalist fluxes and informational/communicational power networks. Those compulsive representations are also structured by a radical, catastrophic and apocalytic political awareness and ideology. Three theoretical models from the "French postmodern" can help us understand our cultural fascination with the Cronenbergian iconography of physical destruction and mutation.  The obscene, pornographic and transparent body  theorized by Jean Baudrillard, the utopian bande libidinale of Jean-François Lyotard, and the totaliatarian and fascistic Corps-sans-Organes  of Deleuze and Guattari guide my reading of the chosen film.

Présentation

Résumé de la communication

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Pascale Ancel ⎪ Bernard Andrieu ⎪ Erinç Aslanboga ⎪ Marie Cadalanu ⎪ Olivier Cheval ⎪ Valerio Coladonato       Louis Daubresse ⎪ Alain Gabon ⎪ Guillaume Gomot ⎪ Tristan Grünberg ⎪ Réjane Hamus-Vallée ⎪ Alice Leroy  Timothée Leroy ⎪ Sylvain Louet ⎪ Nadège Mariotti ⎪ Alexis Moreano ⎪ Massimo Olivero ⎪ Pia Pandelakis            Lionel Renaud ⎪ Caroline Renouard ⎪ Elsa Rodriguez ⎪ Milosz Paul Rosinski ⎪ Marion Roussel ⎪ Nathalie Segeral Flavia Louise Soubiran ⎪ Yann Vilainhttp://www.bodyinfilm.com/intervenants_communicants1.htmlhttp://www.bodyinfilm.com/intervenants_communicants2.htmlhttp://www.bodyinfilm.com/intervenants_communicants3.htmlhttp://www.bodyinfilm.com/intervenants_communicants4.htmlhttp://www.bodyinfilm.com/intervenants_communicants5.htmlhttp://www.bodyinfilm.com/intervenants_communicants6.htmlhttp://www.bodyinfilm.com/intervenants_communicants7.htmlhttp://www.bodyinfilm.com/intervenants_communicants9.htmlhttp://www.bodyinfilm.com/intervenants_communicants10.htmlhttp://www.bodyinfilm.com/intervenants_communicants11.htmlhttp://www.bodyinfilm.com/intervenants_communicants12.htmlhttp://www.bodyinfilm.com/intervenants_communicants13.htmlhttp://www.bodyinfilm.com/intervenants_communicants14.htmlhttp://www.bodyinfilm.com/intervenants_communicants15.htmlhttp://www.bodyinfilm.com/intervenants_communicants26.htmlhttp://www.bodyinfilm.com/intervenants_communicants16.htmlhttp://www.bodyinfilm.com/intervenants_communicants17.htmlhttp://www.bodyinfilm.com/intervenants_communicants18.htmlhttp://www.bodyinfilm.com/intervenants_communicants19.htmlhttp://www.bodyinfilm.com/intervenants_communicants20.htmlhttp://www.bodyinfilm.com/intervenants_communicants21.htmlhttp://www.bodyinfilm.com/intervenants_communicants22.htmlhttp://www.bodyinfilm.com/intervenants_communicants23.htmlhttp://www.bodyinfilm.com/intervenants_communicants24.htmlhttp://www.bodyinfilm.com/intervenants_communicants25.htmlshapeimage_8_link_0shapeimage_8_link_1shapeimage_8_link_2shapeimage_8_link_3shapeimage_8_link_4shapeimage_8_link_5shapeimage_8_link_6shapeimage_8_link_7shapeimage_8_link_8shapeimage_8_link_9shapeimage_8_link_10shapeimage_8_link_11shapeimage_8_link_12shapeimage_8_link_13shapeimage_8_link_14shapeimage_8_link_15shapeimage_8_link_16shapeimage_8_link_17shapeimage_8_link_18shapeimage_8_link_19shapeimage_8_link_20shapeimage_8_link_21shapeimage_8_link_22shapeimage_8_link_23shapeimage_8_link_24

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