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Sällsynta Maktpositioner Inom Amerikansk Film: Döden Och Den Långa Tagningen En Auteuranalys Av Alfonso Cuarón Och Alejandro G

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Sällsynta Maktpositioner Inom Amerikansk Film: Döden Och Den Långa Tagningen En Auteuranalys Av Alfonso Cuarón Och Alejandro G Magisteruppsats Sällsynta maktpositioner inom amerikansk film: döden och den långa tagningen En auteuranalys av Alfonso Cuarón och Alejandro G. Iñárritu Rare power positions in American film: death and the long take An auteur analysis of Alfonso Cuarón and Alejandro G. Iñárritu Författare: Daniel Lopez Nelson Handledare: Mariah Larsson Examinator: Tommy Gustafsson Termin: VT2017 Ämne: Filmvetenskap Nivå: Magister Kurskod: 4FV01E Abstract This essay examines and analyzes specially selected films of directors Alfonso Cuarón and Alejandro González Iñárritu, through an auteur-theory perspective. The aim of the essay is to illustrate the current power position of the directors within American film and examine the cinematic language of Cuarón’s Sólo con tu pareja, Harry Potter and the Prisoner of Azkaban, Gravity, and Iñárritu’s Amores Perros, Biutiful, The Revenant. Keywords: Cuarón, Iñárritu, Auteur, Theory, Sarris, Etherington-Wright, Doughty Gravity, The, Revenant, Lubezki, Prieto, Arriaga, Santaolalla Innehållsförteckning 1. Inledning 1 1.1 Syfte och frågeställning 2 1.2 Disposition 3 2. Forskningsläget 4 3. Metod 4 4. Teori 5 5. Karriäröversikt: Alfonso Cuarón 7 6. Karriäröversikt: Alejandro G. Iñarritu 12 7. Analys 16 7.1 Sólo con tu pareja (Älska mig till döds, 1991) 17 7.2 Harry Potter and the Prisoner of Azkaban (Harry Potter och Fången från Azkaban, 2004) 19 7.3 Gravity (2013) 23 7.4 Amores Perros (Älskade hundar, 2000) 25 7.5 Biutiful (2010) 28 7.6 The Revenant (2015) 32 8. Slutdiskussion och slutsats 35 8.1 Alfonso Cuarón 36 8.2 Alejandro G. Iñárritu 38 9. Käll- och litteraturförteckning 41 1. Inledning När Orson Welles regisserade Citizen Kane (1941) valde den unga långfilmsdebutanten att inte konstruera filmklippningen och bildernas komposition utifrån en klassisk filmmall, istället bestämde sig regissören för att vara mer öppen till hur han skulle bemöta filmberättandet. Det öppna tillvägagångsättet resulterade i en film med en annorlunda och unik stil, som skiljde sig från normen i amerikanskt filmskapande.1 Sjuttiosex år efter Citizen Kane har en stor mängd av filmskapare med en kreativ visuell stil varit verksamma inom den amerikanska filmen, filmskapare som exempelvis Ang Lee, Stanley Kubrick, Oliver Stone, Martin Scorsese.2 Under den senaste Oscarsgalan (2017) vann Barry Jenkins semi- självbiografiska film Moonlight (2016) kategorin bästa film.3 Filmen innehöll en kreativ visuell gestaltning, där traditionella regler som exempelvis 180-gradersreglen utmanades. Det ska understrykas att en film som innehåller en kreativ visuell stil inte är en synonym för en bra film, utan snarare ett av många sätt att bemöta konstruktionen av filmberättandet på. Den amerikanska filmforskaren David Bordwell påstår i The way Hollywood tells it att nästan samtliga amerikanska filmer som är skapade för den kommersiella stormarknaden är konstruerade utifrån samma traditionella filmestetiska mall, där särskilda principer bestämmer kamerapositioner- och rörelser.4 Exempel på nya filmer som tycks förhålla till denna traditionella filmmall är Suicide Squad (2016), The Jungle Book (2016) och Rogue One: A Star Wars Story (2016), alla skapade med en budget på minst 100 miljoner dollar.5 När en stor filmbudget fastställs för en amerikansk filmproduktion minimeras i de flesta fallen regissörens kontroll över filmen, bl.a. på grund av att en större budget ökar riskerna av en eventuell ekonomisk förlust. En regissör som pendlar mellan filmproduktioner med stora och små budgets är Danny Boyle. Regissören förklarar hur budgeten för hans långfilm Slumdog Millionaire (2008) ansågs vara liten och gav honom därmed friheten av vara mer experimentell i sitt filmskapande.6 Detta forskningsarbete har för avsikt att diskutera och undersöka två filmskapare som lyckats skapa särskilda kreativa maktpositioner inom ramen för amerikanska filmer med en budget över 100 miljoner dollar. Filmskaparna är Alejandro G. Iñárritu och Alfonso Cuarón. 1 Bordwell, David, The way Hollywood tells it [Elektronisk resurs], Berkeley: University of California Press, 2006, s. 173. 2 Bordwell, 2006, s. 173-174. 3 ”Moonlight”, IMDb, uppslagspost hämtad från http://www.imdb.com/title/tt4975722/awards, (2017-05-07). 4 Bordwell, 2006, s. 180. 5 “2016 Domestic Grosses”, Box Office Mojo, uppslagspost hämtad från http://www.boxofficemojo.com/yearly/chart/?yr=2016&p=.htm, (2017-05-07). 6 Bordwell, David & Thompson, Kristin, Film art: an introduction [Elektronisk resurs], 10., omarb. uppl. New York: McGraw-Hill, 2015, s. 30. 1 Cuaróns senaste film, Gravity (2013), hade en budget på 100 miljoner dollar.7 Den enorma ekonomiska källan begränsade dock inte regissören för att använda sig av revolutionerande filmtekniska egenskaper för att gestalta filmen. De innovativa egenskaperna kombinerades med ett enkelt strukturerat manus, med starka metaforiska inslag, och regissörens filmtekniska prägel; den långa tagningen.8 Den amerikanska filmforskaren Kristin Thompson beskriver Gravity som en experimentell blockbuster.9 Alejandro G. Iñárritus senaste film, The Revenant (2015), skapades med en budget på 135 miljoner dollar.10 The Revenant innehåller ett filmberättande som också skiljer sig från den standardiserade filmmallen. Filmen har en stark visuell stil och en tung och dominerande stämning, som kan tyckas ge intrigen en bakgrundsroll. Även The Revenant gestaltas med långa tagningar, i likhet med Gravity.11 Genom att närmare undersöka Alfonso Cuaróns och Alejandro G. Iñárritus karriärer och filmer som de regisserat, ämnar detta arbete skapa en deskriptiv bild av regissörernas unika maktpositioner inom amerikansk film, samt deras utvecklingskurvor som filmskapare. De har gått från att vara nationellt kända regissörer av mexikanska lågbudgetfilmer, till prisbelönta filmskapare av enorma Hollywoodproduktioner, med berättande som kan beskrivas som mer visionära och fria än andra filmer med liknande budget. 1.1 Syfte och frågeställning Forskningsarbetet kommer att undersöka och analysera sex filmer gjorda av Alfonso Cuarón och Alejandro G. Iñárritu, tre filmer per filmskapare. Genom undersökning och analys ämnar uppsatsen besvara huruvida regissörerna kan beskrivas som filmauteurer. Kan en filmauteur existera och uttrycka sig inom ramarna av filmer med en budget på minst 100 miljoner dollar? 7 ”Gravity”, Box Office Mojo, uppslagspost hämtad från http://www.boxofficemojo.com/movies/?id=gravity.htm (2017-02-17). 8 McGrath, Charles, “A Circuitous Route to Outer Space”, The New York Times, 3 januari 2014. Tillgänglig: https://www.nytimes.com/2014/01/05/movies/awardsseason/alfonso-cuaron-discusses-his-films.html?_r=0 (hämtad 2017-02-19). 9 Thompson, Kristin, “Gravity, Part 1: Two characters adrift in an experimental film”, Observations on film art, 2013-11-28. Tillgänglig: http://www.davidbordwell.net/blog/2013/11/07/gravity-part-1-two-characters-adrift-in- an-experimental-film/ (hämtad 2017-02-19). 10 ”The Revenant”, Box Office Mojo, uppslagspost hämtad från http://www.boxofficemojo.com/movies/?id=revenant.htm (2017-02-19). 11 Riley, Jenelle, “’Revenant’ Cinematographer Emmanuel Lubezki Used Only Natural Light”, Variety, 16 december 2015. Tillgänglig: http://variety.com/2015/artisans/production/the-revenant-cinematography- emmanuel-lubezki-1201661435/ (hämtad 2017-02-19). 2 Uppsatsens ska även skapa en detaljerad bild av regissörernas utveckling som konstnärer, filmregissörer och aktörer inom den amerikanska filmindustrin. Frågeställningar: Kan Alfonso Cuarón och Alejandro G. Iñarritu beskrivas som filmauteurer? Vilken utveckling går att identifiera i Alfonso Cuaróns och Alejandro G. Iñarritus tidigare mexikanska filmer och deras senaste Hollywoodfilmer? Genom vilka filmiska egenskaper uttrycks utvecklingen? 1.2 Disposition Uppsatsen kommer att inledas med en presentation av ämne, syfte, frågeställningar, teori och metod, samt tidigare forskning rörande filmregissörerna Alfonso Cuarón och Alejandro G. Iñárritu. Därefter följer en djupgående beskrivning av Cuaróns och Iñarritus karriärbanor som filmskapare; från deras första långfilmer, Cuaróns Sólo con tu pareja (Älska mig till döds, 1991) och Iñárritus Amores Perros (Älskade hundar, 2000) till deras senaste titlar, Cuaróns Gravity och Iñárritus The Revenant. Syftet med denna breda introduktion av det empiriska materialet är att skapa en tydlig bild av regissörernas utveckling som konstnärer, men också som filmskapare i produktionssammanhang, samt progressionen av deras maktpositioner och status i den amerikanska filmindustrin. Här är det även möjligt att belysa detaljer som sedan kan användas i analysen av det empiriska materialet. De sex filmer som valts ut till analys motiveras av en strävan efter att understryka nya moment i filmskaparnas karriärer, som exempelvis Cuaróns Harry Potter and the Prisoner of Azkaban (Harry Potter och Fången från Azkaban, 2004), en film med betydligt större krav från studion bakom produktionen, Warner Bros, än regissörens tidigare projekt. Harry Potter and the Prisoner of Azkaban skapades med en budget på 130 miljoner dollar.12 Begränsade filmens enorma budget Cuaróns kreativa utlopp? Ett annat liknande moment går att finna i Iñárritus fjärde långfilm Biutiful (2010), vilken var den första film där filmskaparen arbetade utan manusförfattaren Guillermo Arriaga och samtidigt tog avstånd från det filmberättande som länge kännetecknat honom. Med Birdman och The Revenant välkomnade Iñarritu ett nytt berättande med en annorlunda dramaturgi och visuell stil.13 12 ”Harry Potter and the Prisoner of Azkaban”, IMDb, uppslagspost
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