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Enter the Void: Raumaufsichten Und Wegweisende Perspektiven in Subkulturen“

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Enter the Void: Raumaufsichten Und Wegweisende Perspektiven in Subkulturen“ DIPLOMARBEIT Titel der Diplomarbeit „Gaspar Noés Enter the Void: Raumaufsichten und wegweisende Perspektiven in Subkulturen“ Verfasser Amelio August Nicotera angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, 2013 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuerin: ao. Univ.-Prof. Dr. Brigitte Marschall i „Jed e K u n st gelan gte dab ei zu dem dialek tisch en U m sch lagsp u n k t, w o die M ittel den Zweck und die Formen den Inhalt zu bestimm en begonnen haben. Jed e gelan gte au ch bis zu r letzten logisch en K on seq u en z: zur Form , die sich selber In h alt ist. Also zum Nichts.“1 1 B a lá z s , B é la , Der Geist des Films, F r a n k fu r t a m M a in : S u h r k a m p 2 0 0 1 , S .7 0 ii iii Danksagung Mein Dank gilt Barbara Hum m el Gudrun und Ruben Nicotera iv v In h altsverzeich n is 1. Einleitung.......................................................................................................................... 1 1.1. Vorw ort................................................................................................................. 1 1.2. Forschungsfragen und Aufbau der Arbeit......................................................... 3 2. Perspektiven...................................................................................................................... 5 2.1. Gaspar Noé: Einflüsse, W erke und zeitliche Einbettung.................................5 2.2. Der Rezipient......................................................................................................14 2.3. Der K ünstler als Schöpfer.................................................................................18 2.4. Visuelle Gestaltungsform en und Figuren........................................................ 19 2.5. „Y ou talkin' to me?“............................................................................................. 23 2.6. Licht als M edium ............................................................................................... 26 2.7. Drogenperspektiven und Drogen als M edium ................................................ 30 2.8. Das schw eigende D asein....................................................................................... 37 3. Religiöses......................................................................................................................... 39 3.1. Einleitung........................................................................................................... 39 3.2. Das tibetanische Totenbuch oder das tibetische Buch der Toten(B a rd o T h öd ol)....41 3.3. Medienwechsel/ Transmedialität........................................................................... 49 3.4. Ehe und W ertevorstellungen............................................................................ 53 3.5. Der Regisseur als Scham ane..............................................................................54 4. Rituelles........................................................................................................................... 57 4.1. Les rites de passage von Arnold van Gennep......................................................57 4.2. Rituelles in Enter the Void.................................................................................. 58 4.3. K onstruierte, ritualisierte Seduktion als M etaebene...................................... 64 5. Räume und Nicht-Orte.................................................................................................... 70 5.1. Nicht-Orte von M arc Augé................................................................................. 70 5.2. Der Nicht-Ort I n te r n e t....................................................................................... 73 vi 6. Existenzielles Grunderlebnis......................................................................................... 75 7. Conclusio......................................................................................................................... 79 8. Bibliographie................................................................................................................... 81 8.1. Literatur.............................................................................................................. 81 8.2. Film ographie...................................................................................................... 83 8.3. Internetquellen................................................................................................... 85 9. Anhang............................................................................................................................ 89 9.1. Abstract............................................................................................................... 89 9.2. Lebenslauf........................................................................................................... 90 1 1. Einleitung 1.1. Vorw ort „Wenn das Kino seine Wirkung ausübt, so darum, weil ich mich mit seinen Bildern identifiziere, w eil ich m ehr oder w eniger m ein Ich vergesse über dem , w as auf der L ein - wand vor sich geht. Ich bin nicht mehr in meinem eigenen Leben, ich bin in dem Film, der sich vor mir abspielt.“ (Henri Wallon)2 Fenster, die niemand öffnen möchte, werden in den Filmen des zeitgenössischen Regisseurs Gaspar Noé aufgerissen und erschaffen Einblicke durch Bilder in und von Welten, die dem Betrachter im Gedächtnis haften bleiben. Ergo ist eine Auseinan- dersetzung mit der Bildsprache des Filmes Enter the Void unerlässlich. D as F arben - meer alternierend mit Schwarz, die Leinwand bleibt an einer Stelle eine ganze Minute schwarz, um metaphorisch neun Monate Schwangerschaft darzustellen, ist einzigartig. D agegen kön n te diese A rt der In szen ierun g auch als eine m etaph orisch e Behandlung der Themen Tod und Auslöschung verstanden werden. Die Schwanger- sch aft w ü rd e so betrach tet fü r ein e F orm der N ich t- E xisten z steh en . Die Dialektik der Interpretationsmöglichkeiten skizziert bereits den durchgängig am phibolischen A ufbau von Enter the Void. Halluzination, Reinkarnation, Geschwisterbeziehung, O b session en , R itu ale, T rau - mata, Transzendenz, Geburt, Tod und Rausch – die Liste an behandelten Themen könnte noch zeilenw eise fortgeführt werden. Die offizielle Homepage von Enter the Void3 transportiert in ihrer Z ergliederung und Schw erelosigkeit die D ialektik der Sichtweisen des noch lebenden Protagonisten Oscar und seiner im weiteren Verlauf über der W elt schwebenden Seele. Die verschiedenen D im ensionen werden hier besonders deutlich und können als reprä- sen tativ fü r die System atik des F ilm es betrach tet w erd en . Entkryptisiert ist in Enter the Void der G rundgedanke, kongruierend m it den Ideen des Stoizism us – die kosm ologischen Elem ente und das universelle Prinzip –, eine 2 S tig le g g er, M a r c u s , Ritual & Verführung. Schaulust, Spektakel & Sinnlichkeit im Film, Berlin: Bertz &Fischer 2006, S. 13 3 http://ww w .enter-the-void.co.uk/#/menu 2 Seelenruhe zu erreichen und darüber hinaus die Energetik, wenn m an dieses Konstrukt nicht nur als naturphilosophische, sondern als immaterielle Perzeption von Ström ungen und som it von originären Perspektiven und Raum vorstellungen auffasst, enthalten. Die Narration aus der Ich-Perspektive wird in Enter the Void derart ausgereift ein ge - setzt, d ass sogar d er L id sch lag in tegriert w u rd e. D ie K am erap ersp ek tiven , d ie ein e Im m ersion in p rogressivem A u sm aß zu lassen , gek op p elt m it D arstellu n gen von Energien in unterschiedlichen Ausprägungen tragen zu einer völlig neuen Kognition des Raum es bei. Das Thema Tod gewinnt im Anfangsteil auch durch den Lidschlag einen präsenten Charakter. Die Nicht-Wahrnehm ung und somit Dunkelheit für die Augenblicke des eingefügten L idsch lages verleihen den A ufnah m en einen düsteren C h arakter. D ie Atmosphäre antizipiert darauf folgende Geschehnisse, ein Mechanismus, der in Enter th e V o id öfter zum E insatz kom m t, sich jedoch auch augen blicklich ins G egen teil verkehren kann. Rituale, ob es sich um Drogenkonsumenten, deren Beschaffungsmaßnahmen, die Einnahm e, orts- oder raum gebundene Prozedere, die Visualisierung des Tibetanischen Totenbuches u n d w e ite r e A u s fo r m u n g e n h a n d e lt, g ilt e s z u e r fo r s c h e n . Die Auswahl geht auf ein durch die Studienjahre und private Recherchen geschärftes In teresse an in terd iszip lin ären B etrach tu n gsw eisen u n d d em d ad u rch erw eiterten Spektrum an Interpretationsspielräum en zurück. Diese Arbeit stellt den Versuch dar, Sichtweisen, die den Disziplinen der verglei- ch en den R eligion sw issen sch aften , der Soziologie, der A n thropologie un d der K un st- geschichte entstam m en, m it denen aus einer film w issenschaftlichen W arte aus betrachteten Aspekten wie der Analyse von Perspektive, Ort und Zeit anhand von Enter the Void von G aspar N oé in dem R ahm en und U m fang einer D iplom arbeit abzuhandeln . Animiert durch die Sicht von Marcus Stiglegger, Film in erster Linie als seduktives System zu betrachten4, w ird m it d ieser A rb eit d er V ersu ch u n tern om m en , au ch anh and dieser A uffassung T eile von Enter the Void zu analysieren und zu interpretie - ren . 4 V g l. S tig le g g e r , S . 3 3 3 Aus Gründen der vereinfachten Lesbarkeit wird auf die Gleichstellung der Geschlechter in der verwendeten Sprache verzichtet. 1.2. Forschungsfragen und Aufbau der Arbeit
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