ABSTRACT

Julia Ducournau’s Grave (2018) takes place within the confines of an isolated veterinary school, where humans and animals coexist as part of a highly codified environment. Against the backdrop of the school’s methodical and ritualised social regulation, disruptive bodily transformations take place, blurring the biological and behavioural categories that traditionally define species-based identities. Grave presents us with two irreconcilable yet complementary concepts of the body: one that is subject to the scientific pursuit of categorising, normalising and disciplining already in evidence in the proto-cinematic project of decomposing movement, and another corporeality based on fluidity and exchange, recalling Deleuze and Guattari’s notion of becoming. Following the stylistic conventions of a French horror cinema that foregrounds the materiality of the image, bodies, in Grave, appear as markers of subjection, adaptation or resistance to strategies of disciplining and normalisation. However, the film’s visual and narrative lines of flight, and its open-ended conclusion, raise the question of a move from one disciplining system to another, more diffuse model of control.

摘要

Julia Ducournau 的Grave (2018) 发生在一所孤立的兽医学校的范围内，人类和动物作为高度编纂环境的一部分共存。在学校有条不紊和仪式化的社会监管的背景下，破坏性的身体转变发生了，模糊了传统上定义基于物种的身份的生物学和行为类别。坟向我们展示了两个不可调和但互补的身体概念：一个受制于对分类、规范化和纪律的科学追求，这已经在分解运动的原始电影项目中得到证明，另一个基于流动性和交换的肉体，回忆德勒兹和加塔里的成为概念。遵循法国恐怖电影的风格惯例，突出图像的物质性，在坟墓中，身体作为服从、适应或抵抗纪律和规范化策略的标志出现。然而，这部电影的视觉和叙事路线，以及它的开放式结局，提出了从一个纪律系统转移到另一个更分散的控制模式的问题。