ABSTRACT

The notion of trash films, trashy performances, has marked Western film heavily. The emphasis often falls on disrupting an established order, “troubling the waters,” through anti-bourgeois language and images, through revolutionary class struggles. In this paper, I am interested in seeing how the features involving trash, disorder, and social struggle, accord with attempts to create a new cinematic language to convey positive visual and narrative values for global South cinema. To accomplish this I place the work of a paradigmatic French auteur, Varda’s Les glaneurs et la glaneuse in relationship with two films set in Brazil and Egypt, Mai Iskander’s Garbage Dreams and Lucy Walker’s Waste-Land. This paper presents trash as having some agency, like that of the vagabond, so as to illustrate how the world of art and cinema, and trash cinema, are tied to a neoliberal or global agenda—one in which that agenda encounters, with equal force, trash’s resistance to the framings of value that reduce trash and its pickers to the lowest of statuses.

摘要

垃圾电影的概念，即卑鄙的表演，已在西方电影中大放异彩。重点通常在于通过反资产阶级的语言和图像，通过革命的阶级斗争来破坏既定秩序，“扰乱水域”。在本文中，我有兴趣了解涉及垃圾，无序和社会斗争的特征如何与尝试创造一种新的电影语言以传达全球南方电影的正面视觉和叙事价值的尝试相吻合。为此，我将范式法国导演，瓦尔达的《悲惨世界》与巴西和埃及的两部电影，麦·伊斯坎德的《垃圾之梦》和露西·沃克的《荒原》联系起来。。本文将垃圾视为具有某种流动性的机构，例如流浪者，以说明艺术和电影世界以及垃圾电影如何与新自由主义或全球议程联系在一起，在这一议程中，平等地遭遇议程，垃圾对价值框架的抵制将垃圾及其捡拾器降低到最低状态。