Publicada em: 09/06/2010 às 05:30 |
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He Had no Reflection: vampirismo, percepção e as imagens técnicas
Palavras-chave
The image of the vampire has been explored in cinema since its beginnings, in an uninterrupted chain of reinterpretations, which leads from Murnau’s Nosferatu to Coppola’s Dracula. However, beyond any kind of symbolic or psychoanalytic interpretation of the myth, the vampire can also provide an interesting tool to investigate certain cultural perceptions about the very imaging technologies that represent him. This article seeks the establishment of what might be called a “vampyric theory” of film. According to Peter Weibel, vampirism, as a form of cultural expression, “means phantasmization (Phantomisierung), dealing with ghosts, losses, disappearances, specters and strangeness” (Unheimlich) (1996). In other words, the cultural image of the vampire (which, according to legend, does not emit reflection) indicates a process of spectralization of the world, generated by imaging techniques and the uncertainties ushered by the major technological advancements of post-Industrial Revolution times. Keywords
He Had no Reflection: vampirismo, percepção e as imagens técnicas |
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