Suchergebnisse

Dystopia, just as utopia, has always been immersed in political visions: utopia ‎as an ideal society and dystopia as its opposite: 'bad place' – a futuristic, usually ‎very near future, an imagined universe in which oppressive social control ‎rules. However, utopia and dystopia cannot be absolutely separated, there is‎ a constant threat of replacing good place by bad place, very often leading to‎ the conclusion that every utopia either leads to dystopia or already is dystopia.‎ Today, it often seems that the dystopian future has already arrived, the reality ‎itself evokes dystopian imagination: the global warming and the catastrophes, ‎the monstrous underside of various technologies that would ultimately over-power‎ us – humans. Furthermore, both utopia and dystopia are narratives about ‎how to govern the commons. Whereas in the past the commons appeared in ‎different utopian visions of good governing, today most often the commons ‎fleshes out in disfigured forms of dystopian narratives. In this essay I analyze ‎dystopian imagination as a traumatic symptom of the commons, expressed in‎different narratives of the crisis of capitalism (the Anthropocene, the global‎ monsters, the uncanny weather, metaverse, neo- or techno-feudalism).‎

Inspiriran radom Erica Santnera (1996, 2011) o političkoj teologiji i kraljeva dva tijela, u ovom radu propitujem političku teologiju filma, tj. kako drugo tijelo kralja, tijelo njegove moći, migrira u novo tijelo, tijelo naroda, te sablasno, u raznim tragovima, prati filmski način proizvodnje koji je obilježio dvadeseto stoljeće. U radu dovodim u imaginarnu vezu dva lika (jedan stvarni, drugi fiktivni) koji na određeni način utjelovljuju to migriranje: (1) sudca Daniela Paula Schrebera (čiji je autobiografski zapis mentalne bolesti, od trenutka kada je objavljen 1903., okupirao pažnju ne samo psihijatara i psihoanalitičara nego i raznih teoretičara), i (2) doktora Caligarija, hipnotizera u filmu Kabinet doktora Caligarija (red. Robert Wiene, 1920.), jednog od najpoznatijih junaka njemačkog ekspresionističkog filma, kako bih analizirao kako njihovi slučajevi utjelovljuju »sublimno rojalističko meso« u nacionalnim fantazmagorijama dvadesetoga stoljeća (koje se sve više vraćaju i u naše vrijeme u doba rastućeg populizma i brojnih teorija zavjere). ; Inspired by the work of Eric Santner (1996, 2011) on political theology and the king's two bodies, in this paper, I question the political theology of film. I analyze how the carnal dimension of sovereignty (or king's second body, the body of his power), migrates into a new body, the body of the people, and in various traces appears in the filmic mode of production that marked the twentieth century. I analyse or instead bring into imaginary connection two characters (one real, the other fictional) who in a way embody this migration: (1) Judge Daniel Paul Schreber (whose autobiographical record of mental illness, from the moment it was published (in 1903), occupied the attention not only of psychiatrists and psychoanalysts but also of various theorists) and (2) Dr. Caligari, a hypnotist in the film The Office of Dr. Caligari (dir. Robert Wiene, 1920), one of the most famous characters of German expressionist film.