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Wetenschappelijk Artikel UNIVERSITEIT GENT FACULTEIT POLITIEKE EN SOCIALE WETENSCHAPPEN VOICING A POLITICS OF POLARISATION. MEERSTEMMIGHEID EN DE POSITIE VAN DE AUTEUR IN PETER WATKINS' PUNISHMENT PARK. Wetenschappelijk artikel aantal woorden: 9588 SARAH BRUYNOGHE MASTERPROEF COMMUNICATIEWETENSCHAPPEN afstudeerrichting FILM- EN TELEVISIESTUDIES PROMOTOR: PROF. DR. DANIËL BILTEREYST COMMISSARIS: LENNART SOBERON ACADEMIEJAAR 2015 – 2016 Mijn oprechte dank gaat uit naar mijn promotor professor Daniël Biltereyst, voor het vertrouwen en de feedback, en naar Nicolas en papa voor hun kritische inbreng. Too much ugly talking Too many bad politicians We need some practical dreamers and maybe a few magicians Shall we get away from here where no one can find us? The north wind will blow us away We’ll leave this all behind us We’ll vanish No one will know where Into thin air Voor mijn twee Pop Kids, Nicolas en Maj. Love you. Abstract For years film critics have regarded Peter Watkins as an overtly political director. His works are not movies but pamphlets, his documentary approach a caricature of political reality. His cinematic voice, in other words, has been scolded for being too one-sided. This article suggests that, using his thoroughly subjective position, Watkins aims for full-on audience participation and, by doing so, reduces his own voice to one of the many participants in what is ultimately a polyphonic oeuvre. An analysis of his controversial feature Punishment Park (1971) is the starting point of this study. An open, more modern approach to Mikhail Bakthins concept of polyphonic narration will be used as theoretical background. Watkins’ role as the narrator of this story differs from his role as the director of the film, as I will demonstrate. Dissecting the narrative, the dramaturgic choices of style and various plot points it becomes clear how Watkins attempts to place himself in the story, as a character and as a participant. Moreover, using different approaches – in cinematography, in casting, in film and sound editing, etc. – Watkins seems to engineer a polyphonic stage where the “politics of polarisation” of the sixties can be played out against each other. In this light I review the polemics within Watkins’ work as having a paradoxical role towards the viewer: constantly pulling him in and out of the story. This initiates a critical viewing process that can, or will, never come to a full conclusion - as is intended by the director, or stager, of the film. ii Toelichting vooraf Om de logische opbouw en de helderheid van de argumentatiegang zoveel mogelijk te bewaren, werden een aantal zaken niet in de diepte uitgewerkt of beschreven in het eigenlijke artikel. Meer uitgebreide informatie over zowel de kritische bedenkingen van regisseur Peter Watkins ten overstaan van de media, als over de (productie)context van Punishment Park zijn, naast een samenvatting van de film, daarom terug te vinden in de bijlagen. Ook een uiteenzetting van de methodologische opzet van het artikel en de eraan voorafgaande bronnenkritiek zijn hier opgenomen. Tot slot volgt een systematische analyse van de ‘Watkins-verteller’, alsook visueel materiaal uit de film ter ondersteuning van wat beschreven werd in het artikel. iii Inhoudsopgave Abstract ii Toelichting vooraf iii Voicing a politics of polarisation. Meerstemmigheid en de positie van de auteur in Peter Watkins’ Punishment Park 1 Introductie 1 A politics of polarisation 2 Peter Watkins, BBC reporter, age 36. 5 Peter Watkins, director. 10 Wat met de kijker? 16 Conclusie 22 Bibliografie 31 Academische bronnen 31 Internetbronnen 33 Overige bronnen 34 Filmografie 34 Bijlagen 35 Bijlage 1: Bronnenkritiek 36 Bijlage 2: Verantwoording en methodologie 38 Bijlage 3: Mediacrisis, monovorm en de impact van de MAVM – Peter Watkins’ mediakritiek 42 Bijlage 4: Punishment Park – samenvatting en situering 46 4.1. Samenvatting 46 4.2. Situering 47 Bijlage 5: Analyse van de ‘Watkins-verteller’ 49 Bijlage 6: Visueel materiaal 57 6.1. Personages die refereren aan historische figuren 57 6.2. De tirannie van objecten 58 6.3. Water als middel van onderdrukking 59 iv 6.4. ‘Newsreel’-stijl 60 6.5. Subjectieve cameravoering 61 6.6 Het zichtbaar maken van de camera 62 6.7. Close-ups rond de haarlijn 65 6.8. De vlag 67 v Voicing a politics of polarisation. Meerstemmigheid en de positie van de auteur in Peter Watkins’ Punishment Park Introductie De carrière van filmmaker Peter Watkins is er een getekend door weerstand en censuur. Hoewel de recente, kleinschalige heruitgave van enkele van zijn films een bescheiden herwaardering inluidde, blijft hij voor heel wat critici geboekstaafd als de man van pamflettaire, karikaturale ‘docufictie’ met een onverbloemd links politiek karakter.i Zijn omgang met historische gebeurtenissen en eigentijdse maatschappelijke conflicten verraadt in deze lezing een onvermogen los te komen van zijn eigen ideologische overtuigingen. Ook zou Watkins zo geweld en polemiek in de hand werken. Het gevolg is een leven in de marge, in artistieke ballingschap opererend doorheen Europa en de wereld, zich steeds weer verleggend naar nieuw, neutraal werkterrein. Dit artikel argumenteert dat, hoewel Watkins’ stem onmiskenbaar weerklinkt, ook letterlijk, doorheen zijn films, dit geenszins een platte interpretatie van zijn werk hoeft te betekenen. Naast de representatie van zijn persoonlijke opvattingen heeft Watkins’ gekleurde aanpak namelijk een bijkomende en heel andere werking. Watkins gaat voortdurend op zoek naar manieren om de vaak ongehoorde ‘ander’ – de filmkijker, de medeburger, maar ook de tegenpartij, de criticus – te betrekken als een evenwaardige partner. Net vanuit zijn subjectieve positie reikt hij ons de hand. Of, zoals Watkins (2014b) het zelf verwoordt: “In summary, my work ... has always been driven by a desire to add a dimension and a process to television, which it still lacks today: that of the public directly, seriously, and in depth participating in the expressive use of the medium to examine history – past, present and future.”ii In de schaarse literatuur over Watkins – denk vooral aan Gomez (1979), Cook (2010), McDonald (1979), Bovier en Taieb (2012) en Poindexter (2011) – blijkt dit centrale maar aanhoudend gecontesteerde element van partijdigheid, daar waar het specifiek aanknoopt met een streven naar meerstemmigheid, merkwaardig onderbelicht gebleven. De bijdrage van Welsch (1996), die de evolutie schetst van de voor dit oeuvre zo typerende “Watkins Narrator”iii, is een verhelderende uitzondering. Waar Welsch deze ‘Watkins-verteller’ in de eerste plaats beschouwt vanuit zijn positie tegenover het verhaal, wens ik evenwel een stap 1 verder te gaan en zichtbaar te maken op welke wijze deze verteller een relatie aangaat met wat en vooral wie zich buiten het verhaal bevindt.iv Een analyse van Punishment Park (1971) is daarvoor het vertrekpunt. Ter aanvulling dienen bepaalde (dis)continuïteiten ten opzichte van Watkins’ andere films het fragiele evenwicht van zijn ambigue auteurspositie aan te tonen. De uiteenlopend geïnterpreteerde theoretische erfenis van Mikhail Bakhtin vormt daarin een vruchtvol ingangspunt. Stam (1996, p. 21) benadrukt hoe de concepten ontwikkeld door Bakhtin een “intrinsic identification with difference and alterity, a built-in affinity for the oppressed and the marginal” inhouden. “Rather than expand the center to include the margins, it interrogates and shifts the center from the margins”, meent Stam (1996, p. 234). Bakhtins denkbeelden lijken op dit punt heel wat gemeenschappelijk te hebben met Watkins’ ambities. In Problems of Dostoevsky's poetics (1984) komt Bakhtin tot een definitie van de polyfone vertelstructuur. De inbreng van de stem van de auteur is daar een centraal onderdeel van. Hoewel Bakhtin de roman vooropstelt als het ultieme medium om geslaagde meerstemmigheid te bereiken, bevat zijn conceptualisering heel wat bruikbare inzichten inzake de hierboven geschetste problematiek. Zoals uit de analyse van Punishment Park moet blijken zijn in Bakhtins teksten zelf de elementen aanwezig om tot die vruchtvolle extensie van literatuur naar film te komen. Vanuit zichzelf vertonen zij immers al een soort “cross- disciplinary drift” (Stam, 1996, pp. 16-17). Morson en Emerson (1989, p. 4) betogen dat het “denken met” zijn ideeën – en dus niet het louter toepassen ervan –, daarom gezien kan worden als een dialogisch antwoord dat zich richt op meer hedendaagse vraagstukken, in dit geval de relatie tussen auteur, verhaal en publiek in deze ene, specifieke film.v A politics of polarisation Van de dertien langspeelfilms die Watkins realiseerde lijkt Punishment Parkvi misschien wel het verst verwijderd van wat Bakhtin (1984, p. 6) een “polyphony of fully valid voices” noemt. De film lijkt integendeel een illustratie van wat hij als ‘monologisme’ typeert, de antipode van de diepdialogische communicatie die in een polyfone roman optreedt. “This country has chosen a politics of polarisation”, besluit de advocaat van de jongeren aan het einde van de rechtszitting en het is net deze ‘politiek van de polarisatie’ die als voornaamste thema uit de film spreekt. Punishment Park handelt over de destructieve consequenties die de machtsstrijd om het gesproken woord genereert. Een machtsstrijd die bovendien uitmondt in 2 een verregaande polarisatie van de maatschappij. In Problems of Dostoevsky's poetics schrijft Bakhtin (1984, pp. 58-59): “In a human being there is always something that only he himself can reveal, in a free act of self-consciousness and discourse ... The truth about a man in
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