ABSTRACT

This study examines the power relations found in Greek director Yorgos Lanthimos’ films. Since 2005, Lanthimos has been making films that left his mark on art cinema. Despite the inevitable rise of the director – especially since Dogtooth (2009) – there are few studies on Lanthimos. Existing studies either focus on only one film or deal with him within the Greek New (Weird) Wave movement. However, even if the director came out of this movement, his films have a unique artistic style. The director presents us with various representations of power by using interpersonal relationships in his films. He accomplishes this by using elements from his one-of-a-kind cinematographic, thematic and narrative perspective. These films, in which bodies under authority are shown to us utilizing an absurdist narrative, distinguish Lanthimos from other filmmakers. There are no academic studies on the concept of power that is frequently used in Lanthimos’ films. In this study, this deficiency is solved and the relations of power found in the cinema of Yorgos Lanthimos are analyzed using the Foucauldian method of analysis and in light of the thinker’s concepts such as docile bodies, discipline, control, bio-power and sovereign power.

摘要

本研究考察了希腊导演 Yorgos Lanthimos 的电影中的权力关系。自 2005 年以来，Lanthimos 一直在制作在艺术电影界留下自己印记的电影。尽管导演的崛起不可避免——尤其是自《狗牙》（2009 年）之后——但很少有人对 Lanthimos 进行研究。现有研究要么只关注一部电影，要么在希腊新浪潮运动中与他打交道。不过，即使是从这个运动中走出来的导演，他的电影也有着独特的艺术风格。导演通过电影中的人际关系向我们呈现了各种权力的表现形式。他通过使用来自他独一无二的电影摄影、主题和叙事视角的元素来实现这一点。这些电影利用荒诞的叙事向我们展示了处于权威之下的身体，将 Lanthimos 与其他电影制作人区分开来。对于兰西莫斯电影中频繁使用的权力概念，没有学术研究。在这项研究中，解决了这一缺陷，并根据思想家的概念，如温顺的身体、纪律、控制、生物权力和主权权力，使用福柯的分析方法分析了 Yorgos Lanthimos 电影中发现的权力关系.