Studies in European Cinema Pub Date : 2019-11-12 , DOI: 10.1080/17411548.2019.1686860 Alberto Zambenedetti 1
ABSTRACT
In 1998, the late Jean-Claude Izzo published an essay titled ‘Le bleu et le noir’ in the weekly news magazine Le Nouvel Observateur. The piece opened with the following words: ‘In the beginning is the Book. And that moment in which Cain kills his brother Abel. In the blood of this fratricide, the Mediterranean gives us the first noir novel’ (Izzo, 2013 Izzo, J.-C. 2013. Garlic, mint, & sweet Basil. Essays on marseilles, Mediterranean cuisine, and noir fiction . New York: Europa Editions. [Google Scholar]). With this statement, the author suggested a powerful hermeneutical possibility: the recasting of the noir discourse (as an intertextual and transartistic practice) in a fashion that would include an expanded genealogy and an extended geography, well beyond its known Anglofone paths. In the last decade, film scholars have embarked in a profound reevaluation of the anglocentrism of the noir canon in a fashion that is consonant with Izzo’s position (Spicer 2007 Spicer, A. , Ed. 2007. European Film Noir . Manchester: Manchester University Press. [Google Scholar], Fay and Nieland, 2010 Fay, J. , and J.Nieland . 2010. Film noir: Hard-boiled modernity and the cultures of globalization . London: Routledge. [Google Scholar], Pettey and Palmer 2014a Pettey, H.B. , and R.Barton Palmer , Eds. 2014a. Film Noir . Edinburgh: Edinburgh University Press.[Crossref] , [Google Scholar] and 2014b Pettey, H.B. , and R.Barton Palmer , Eds. 2014b. International Film Noir . Edinburgh: Edinburgh University Press. [Google Scholar]), going so far as to postulate the existence of a contemporary ‘global noir’ arising from ‘transnational filmmaking, cross-cultural influences, and the idea of global culture.’ (Desser, 2012 Desser, D. 2012. Global noir: Genre film in the age of transnationalism. In Film Genre Reader IV , ed. B.K.Grant , 628–48. Austin: University of Texas Press. [Google Scholar], 628). This article proposes a theory of space that sheds light on the cultural specificity of the Mediterranean noir, and that addresses the submerged, repressed histories of the lands touched, and thereby linked, by this complicated sea.
中文翻译:
意味着街道和血腥的海岸:走向地中海黑色的空间理论
摘要
1998年,已故的让-克洛德·伊佐(Jean-Claude Izzo)在每周新闻杂志《新观察家报》(Le Nouvel Observateur)上发表了题为《蓝与黑》的文章。该作品以下列单词开头:“一开始就是这本书。该隐杀死他的兄弟亚伯的那一刻。在这场惨烈的屠杀中,地中海为我们提供了第一本黑色小说”(Izzo,2013年 伊佐(Jzz) 2013年。大蒜,薄荷和甜罗勒。关于马赛,地中海美食和黑色小说的论文。纽约:欧罗巴版本。 [Google Scholar])。作者在此陈述中提出了一种强有力的解释学可能性:以一种包括扩展的族谱和扩展的地理范围的方式,改写黑色话语(作为一种互文性和跨艺术的实践),远远超出其已知的盎格鲁芬路径。在过去的十年中,电影学者以与Izzo的立场相吻合的方式,对黑色经典的盎格鲁中心主义进行了深刻的重新评估(Spicer2007 Spicer,A。 ,编。2007年。欧洲黑色电影。曼彻斯特:曼彻斯特大学出版社。 [Google Scholar],Fay and Nieland,2010年 Fay,J 。和J. Nieland。2010年。黑色电影:刻板的现代性与全球化文化。伦敦:Routledge。 [Google Scholar],Pettey和Palmer2014a HB , Pettey和R. Barton Palmer,编辑。2014年。黑色电影。爱丁堡:爱丁堡大学出版社。[Crossref] ,[Google Scholar]和2014b HB , Pettey和R. Barton Palmer,编辑。2014b。国际黑色电影。爱丁堡:爱丁堡大学出版社。 [Google Scholar]),据此推测是由于“跨国电影制作,跨文化影响力和全球文化理念”而产生的当代“全球黑色电影”的存在。(Desser,2012年 Desser,D. 2012年。全球黑色电影:跨国主义时代的电影类型。在电影类型读者IV,编辑。BK格兰特,628 - 48。奥斯丁:德克萨斯大学出版社。 [Google Scholar],628)。本文提出了一种空间理论,该理论揭示了地中海黑色的文化特质,并探讨了被这片复杂的海洋接触并联系在一起的土地被淹没,被压抑的历史。