David Cronenberg Og Skriften På Kødet

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David Cronenberg Og Skriften På Kødet akademiskkvarter Volume 01 • 2010 academic quarter Carnografi David Cronenberg og skriften på kødet From the very beginning, or perhaps before it, the skin is the tablet on which the world is writing the shape that the individual will take. Steven Connor: The Book of Skin The skin is in the service of writing; for what is being touched, handled, or scratched into being is the flesh made word. Janet Beizer: Ventriloquized Bodies Claus Krogholm (f. 1960), ph.d. Har bl.a. redigeret Ruinøs modernitet (2000) og Fotografiske dialekter (2006). Redigerer i øjeblikket antologi om Marshall McLuhan. Har skrevet om Per Olov Enquist, Michael Strunge, Pablo Llambías, Johs. V. Jensen, Walter Ben­ jamin, David Lynch, Quentin Tarantino m.m. Carnography (from latin “carnis” meaning “meat” Ordet carnography blev angiveligt anvendt før­ and Greek grajh (grafi) "writing") is a neologism ste gang i 1984 i Time Magazine som en beskri­ for writing, films, images, or other material that velse af David Morrels roman First Blood (1972) contains gratuitous amounts of bloodshed, violence – der nok er bedst kendt som forlæg for filmen and/or weaponry. It is named by analogy to por­ af samme navn med Sylvester Stallone i rollen nography (although it is often mistaken for a port­ som John Rambo. Det bruges i dag som kate­ manteau of "carnage" and "pornography", this is not gori blandt andet af bloggeren Jahsonic, der strictly the case), and is sometimes referred to as også står bag The Art and Popular Culture En­ "violence porn". cyclopedia, hvor ovenstående definition stam­ The mere depiction of violent acts, or of their re­ mer fra. Under den kategori skriver Jahsonic sults, does not necessarily qualify a film as carno­ om bl.a. Gustave Doré, Georges Bataille og graphy, just as the mere depiction of sex acts does Michael Haneke. I definitionen – der ikke er not necessarily qualify a film as pornography. (The særlig præcis – står der, at det ikke er skildrin­ Art and Popular Culture Encyclopedia). gen af voldelige handlinger alene, der kvalifi­ Volume 01 113 Carnografi akademiskkvarter Claus Krogholm academic quarter cerer noget som carnografi. Spørgsmålet er, den svinder bort. Georges Bataille mente som hvad det så er. bekendt at se en tilsvarende forklarelse eller il­ Skulle man forsøgsvis udpege noget som lumination i det berømte – eller berygtede – carnografiensurskrift , så kunne det være Franz billede af ”døden gennem de tusinde snit”: en Kafkas ”In der Strafkolonie” (skrevet 1914, men kinesisk henrettelsesmetode, hvor den dømte først offentliggjort i 1919). Som man nok ved, snittes med knive på sådan en måde, at døden så foregår den i en fangelejr i en ikke nærmere indtræder så sent som muligt. Den dømte, der bestemt koloni, hvor den gamle kommandant allerede har fået begge arme skåret af, samt har opfundet en sindrig maskine, der med nåle fjernet store dele af brystkødet, er endnu i live skriver straffen på huden – og i kødet – af den på fotografiet. Hans ansigt er vendt op, og i dømte. En forskningsrejsende (som det hedder hans udtryk ser Bataille på en gang lidelse og hos Kafka) får maskinen forklaret af en officer. ekstase som en form for forklarelse (Bataille, Den dømte kender ikke på forhånd sin straf, 1972: 162). men erfarer den gradvist, efterhånden som Kafkas fortælling ender som bekendt med, maskinen bearbejder hans krop og kød. Efter at officeren indtager den dømtes plads i ma­ seks timer sker der noget: skinen. Den tekst, der bliver indskrevet i hans kød, er: ”Vær retfærdig!” Da den forsknings­ Men hvor bliver manden så stille om­ rejsende betragter hans ansigt efter henrettel­ kring den sjette time! Forstanden svinder sen, ser han ingen forklarelse: bort selv hos den dummeste! Det begyn­ der omkring øjnene. Herfra breder det Det var som det havde været i livet; der sig. Et syn, der kunne forlede én til at var intet tegn at se til den bebudede fø­ lægge sig med op under harven. Der sker lelse af udsoning; det, alle andre havde jo ikke noget, manden begynder bare at fundet i maskinen, det fandt officeren tyde skriften, han spidser munden, som ikke; hans læber var presset tæt sammen, lytter han. De så, det er ikke let at tyde hans øjne stod åbne og havde samme skriften med øjnene; men vores mand udtryk som i livet. Blikket var roligt og her tyder den med sine sår. Det koster overbevist, gennem panden gik spidsen ganske vist meget arbejde, han bruger af den store jernpig (Kafka, 1984: 140). seks timer, inden han kan læse. Men så spidder harven ham fuldstændig og ka­ Kafkas fortælling kan læses som en lignelse om ster ham i graven, hvor han klasker ned den gamle og den ny orden, der bygger på på blodvandet og vattet. Så er retshand­ forestillingen om indsigt i en esoterisk viden lingen forbi, og vi, jeg og soldaten, gra­ gennem kroppen; en indsigt der kun opnås, ver ham ned (Kafka, 1984: 123­24). når ”forstanden svinder bort”. I den moderne verden har vi glemt den gamle viden; vi erfa­ Der er tale om en form for illumination gen­ rer gennem forstanden, intellektet, ikke gen­ nem kødet. Skriften er vanskelig at læse med nem kroppen. Der synes at være tale om en øjnene, men tydes gennem kødet, når forstan­ præmoderne, sakral form for illumination, der Volume 01 114 Carnografi akademiskkvarter Claus Krogholm academic quarter er gået tabt i den moderne sekulære verden. tilskriver hele virkningen teleportationen; alt­ Men som Slavoj Zizek har påpeget, så er pro­ så teknologien. Det er dog værd at erindre, at blemet hos Kafka ikke nødvendigvis Guds fra­ han også er blevet penetreret af teknologien, vær, men derimod at Gud er blevet alt for nær­ da en mikrochip ved et uheld har boret sig ind værende og dermed obskøn (Zizek, 1991: 146). i ryggen på ham. Og det er netop på det sted, Ikke længere åndelig og metafysisk, men stof­ at insektet for første gang viser sig i form af lig som kød. Den obskøne gud er carnografisk. nogle stride, nye hår, der vokser frem. Det er altså gennem teknologien, penetreringen af huden, nålene i kødet, at illuminationen – fore­ Kød og hud stillingen om noget nyt – først bliver ført ind Hos David Cronenberg finder vi hyppige re­ i kroppen. Men selv da det går op for Seth ferencer til kødet i form a new flesh. ”Long live Brundle, hvad der er sket, er der en form for the New Flesh” lyder den næsten religiøse be­ forklarelse: ”I’m becoming something that ne­ sværgelse i Videodrome (1983). Der er intet, der ver existed before. I’m becoming... Brundlefly. er entydigt hos Cronenberg, men der er en Don’t you think that’s worth a Nobel Prize or form for forklarelse gennem fusionen af men­ two?” Det er ikke en illumination, der peger neske og teknologi, organisk og uorganisk, kød bagud mod en præmoderne, sakral orden; men og metal, som er beslægtet med Kafka og ”In fremad mod en posthuman fremtid. der Strafkolonie”. I The Fly (1986) oplever Seth Det er som oftest kødet – the New Flesh – der Brundle en åbenbaring, da han er blevet ge­ bliver fremhævet hos Cronenberg. Men huden netisk fusioneret med en flue. spiller også en central rolle. I The Fly er huden den grænseflade, hvor menneske, natur og tek­ I’m beginning to think that the very pro­ nologi mødes. Teknologien bryder gennem cess of being taken apart and put back den humane grænseflade – Seths hud – i form together is like – coffee being put through af mikrochippen. Det sker udefra. Det modsva­ a filter. It’s somehow a purifying pro cess, res af insekthårene, der bryder gennem huden it’s purified me, it’s cleansed me, and I’ll indefra. Huden bliver grænsefladen mellem tell you, I think it’s going to allow me to teknologi (mikrochip) og natur (insekt); den realize the personal potential I’ve been bliver stedet, hvor de to fusioneres og frem­ neglecting all these years that I’ve been bringer det nye: Brundlefly. Mennesket er re­ obsessively pursuing goal after goal […] duceret til at være den flade, hvorpå de to I will say now, however subjectively, that koder – teknologiens digitale og naturens ge­ human teleportation – molecular deci­ netiske – skrives. mation, breakdown and re­formation – Cronenberg har fokus på huden allerede fra is inherently purging, it makes a man a starten. I hans anden spillefilm – Crimes of the king! Future (1970) – er det en hudsygdom – Rouge Malady – der frembringer radikale forandrin­ Han er på dette tidspunkt endnu ikke klar over, ger af mennesket. Årsagen til sygdommen er at der er en flue involveret i processen, men kosmetik opfundet af en mad dermatologist, Volume 01 115 Carnografi akademiskkvarter Claus Krogholm academic quarter Antoine Rouge, fra ”The Institute of Neo­Ve­ garet. Dels viser hans egen transformation sig nereal Disease”. Sygdommen beskrives i fil­ først som en hudirritation – ”a rash” – som han men som en form for ’creative cancer’; et ud­ distræt bearbejder og dermed pirrer det nye tryk der er blevet opfattet som en generel be­ kød. skrivelse af Cronenbergs værk: sygdommen er I Crash (1996) er det hele filmen, der bliver på den ene side destruktiv, dødbringende; men overflade og dermed en form for generalise­ på den anden side også skabende, kreativ. Det ret hud. Der er den samme erotiske besættelse er sygdomme, der skaber mutationer og der­ af krop og metal, af menneskers hud og bilers med driver evolutionen. Hos Cronenberg er lakering. Besættelsen af biluheld er analog til evolution ikke kun naturlig, men også et re­ optagetheden af kroppens ar. Kroppens ar sultat af teknologi og kultur (Rodley, 1997: 80f). kommer af metallets penetrering af huden i I Rabid (1977) er det en ny form for plastikki­ biluheld.
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