This Is a Pre-Peer Review Preprint of an Article That Has Been Published in Horror Studies. © García, 2020. the Definitive, Pe

Total Page:16

File Type:pdf, Size:1020Kb

This Is a Pre-Peer Review Preprint of an Article That Has Been Published in Horror Studies. © García, 2020. the Definitive, Pe This is a pre-peer review preprint of an article that has been published in Horror Studies. © García, 2020. The definitive, peer reviewed and edited version of this article is published in Horror Studies, volume 11, number 1, April 2020, pp. 83-100, https://doi.org/10.1386/host_00012_1 ‘Tell me, what are you becoming?’ Hannibal and the inescapable presence of the grotesque Alberto N. García School of Communication, Universidad de Navarra, Pamplona, Spain E-mail [email protected] Postal address Alberto N. García Edificio Bibliotecas Departamento de Proyectos Periodísticos Campus Universitario - Universidad de Navarra 31080-Pamplona Navarra (Spain) Bio Alberto N. García is an Associate Professor of Film and Television Studies at the School of Communication, University of Navarra (Spain). He has been Visiting Scholar at Fordham University, George Washington University, and Visiting Professor at the University of Stirling and the University of Queensland. He has published his work in journals such as Post Script, Palabra-Clave, Communication and Society, or Revista Latina de Comunicación. He is also co-editor of Emotions in Contemporary TV Series (Palgrave, 2016), Landscapes of the Self. The Cinema of Ross McElwee (2007) and author of El cine de no-ficción en Martín Patino (2008). Abstract Aesthetics philosopher Noël Carroll affirms that grotesque forms ‘are all violations of our standing categories or concepts; they are subversions of our common expectations of the natural and ontological order’ (2003: 307). In breaking structural boundaries, consequently, the grotesque appears as deformations, aberrations, exaggerations, metamorphosis, or startling portmanteaus. Given both its nightmarish texture and the evil ingenuity of Dr. Lecter’s murders, Hannibal (NBC, 2013-15) ploughs fertile ground in putting together conceptually distant and even contradictory elements. Hence, this article explores how the aesthetic and philosophical principles of the grotesque are a pervasive presence throughout the entire Hannibal TV series, defining its style, characters’ personality and metaphorical themes. Putting art theory in dialogue with the Hannibal televised text, this article demonstrates how the grotesque – one of the key concepts in Gothic horror – permeates every level of the show, from the opening credits to the protagonist’s inner transformation, converting the narrative into a comprehensive and cohesive liminal artistic ecosystem. Key words: Hannibal; grotesque; television studies; tv-series; aesthetics; gothic horror. Introduction ‘Fromage’, the eighth episode from Hannibal’s first season, offers one of the show’s most infamous gruesome images. Someone – an undoubtedly snobbish serial killer – has histrionically butchered an inept musician. As usual in the narrative, Will Graham (Hugh Dancy), the extremely empathetic FBI profiler, wanders around the horrendous crime scene. At the center of the concert stage, spotlighted, is a corpse whose mouth has been savagely pierced by the neck of a cello. The killer has impaled the musical instrument down the throat, so the vocal cords coincide with the cello strings. It is, literally speaking, a musical dead body. Figure 1: the cello in ‘Fromage’ [Credit: NBC]. This in-between imagery is the epitome of the grotesque, one of the aesthetic concepts that most strongly defines Hannibal, the ‘preboot’ (Scahill 2016) created by Bryan Fuller for the NBC network (2015-17). This article will evidence how the grotesque – a critical notion in Gothic horror – permeates every level of the show, transforming the story into a whole and cohesive liminal artistic ecosystem. The grotesque is not only present in the actual aesthetics of the weekly murders, such as the one described in the opening paragraph of this article, but also infuses the way the narrative is structured, the dramatic engagement with the characters, the underlying motifs, as well as the acute symbolism Hannibal exhibits. Consequently, the purpose of this essay is to examine how Fuller’s TV series employs the grotesque as a recurring feature that consistently reinforces Hannibal’s uncanny and disturbing effects. To achieve this goal, firstly, we draw on art theory and philosophy of art to define the parameters of the grotesque. Given its broad connotations in academic literature, the second part of the theoretical introduction narrows the concept down by focusing on Gothic horror, the subgenre that, given its emphasis on excess, body and transgression, most clearly includes grotesque imagery within its works. Once the theoretical ground is covered, the essay focuses on how the grotesque keeps re-appearing in Hannibal on different levels, including aesthetics, dramatic engagement, as well as several metaphors and allegories that all act as enhancers of the grotesque. Finally, the article scrutinizes how the grotesquerie is used as a way of intensifying the central dramatic conflict of the show: Will Graham’s ‘becoming’—that is, his moral transformation into someone able to participate alongside Dr. Lecter (Mads Mikkelsen) and who finds beauty in the savage killing of Francis Dolarhyde (Richard Armitage). The grotesque and its prominence in Gothic horror The term ‘grotesque’ is an elusive one. Theoreticians of the concept concur in highlighting how difficult the taxonomic task is. In his seminal study, The Grotesque in Art and Literature, literature scholar Wolfgang Kayser states that the name is ‘one of those quickly cheapened terms which are used to express a considerable degree of emotional involvement without providing a qualitative distinction beyond the rather vague terms “strange,” “incredible,” “unbelievable”’ (1963: 17). In a similar vein, the humanities historian Geoffrey G. Harpham, in his On the Grotesque: Strategies of Contradiction in Art and Literature, asserts that the grotesque is ‘a single protean idea that is capable of assuming a multitude of forms’ (1982: xv). Beyond this contemporary tenuousness, in its origin, the grotesque was a term associated with a more humorous vein than it is nowadays. Nonetheless, since the sixties, it has been settled – both by academics and the general public – as a notion related to the horror genre, next to kin concepts such as the carnivalesque, the abject, the uncanny, or, even, the macabre (Hurley 2007; Edwards 2016: 124). Lexically, ‘grotesque’ comes from ancient Roman ornamental sculptures found in small caves (grottoes). Those figures entailed human and animal forms amalgamated with all kinds of vegetation motifs displayed in fantastic shapes. Seeds, fruits, plants, flowers and leaves were assembled, challenging the logical standards of classical sculpture. In doing so, as Parrinder notes, the grotesque involved ‘a blurring of distinctions, a continual change from one type to another, a riot of incompleted forms’ (1984: 8). It is easy to find in this last quote a resonance with Will Graham’s ‘pure empathy’ sequences, where he blurs spaces, time and psyches in a moving and disturbing manner. Since the opening scene of the series, the director has established a narrative pattern defined by its interstitial condition. At any crime scene, FBI profiler Will Graham can reenact the murders down to the last detail. This ‘gift’ (a side effect of a disorder called antibody encephalitis that causes hallucinations, confusion and memory problems) is depicted in Hannibal through a mise-en-scène that highlights jumble, disorientation and weirdness in a dreamlike and mesmerizing way. Will Graham’s trance-like states exhibit two of the defining features of the grotesque: fluidity and liminality. On the one hand, the grotesque presents itself in a state of flux, in constant development, as a horrific and never-ending work-in-progress. On the other hand, regarding liminality, ‘The grotesque is defined by what it does to boundaries, transgressing, merging, overflowing, destabilizing them. Put more bluntly, the grotesque is a boundary creature and does not exist except in relation to a boundary, convention, or expectation’ (Connelly 2003: 4). Liminality and fluidity – in fact, the whole concept of the grotesque – are features associated with ‘Gothic horror’, a commonplace rubric to designate to the entire Hannibal transmedia universe.1 It seems naïve and inaccurate to establish an inflexible border that is stuffed with all the varieties and possibilities of ‘Gothic horror’. However, at least several features singularize the subgenre amidst the broader ‘horror’ label. These can be summarized in three concepts that we will flesh out: rhetorical excess, body obsession and boundary transgression. In his introduction to Gothic monstrosity, Halberstam addresses how ‘excess’ lies at the core of the sub-genre: ‘Gothic, in a way, refers to an ornamental excess (think of Gothic architecture—gargoyles and crazy loops and spirals), a rhetorical extravagance that produces, quite simply, too much’ (1995: 2). As Hubner puts it, ‘excess is a key feature of gothic aesthetically and stylistically, but also in relation to passion and sensitivity, cued by venturing dangerously into imaginary, disorderly and irrational territories’ (2018: 45). Consequently, Gothic horror narratives are not only highly aware of their own physical design, but are also usually intertwined with romance, resembling the paradoxical mix of awe, fascination and terror that Edmund Burke attributed to the sublime. This excess, understandably, also affects the depiction of the body, the second major feature of the Gothic. As Aldana Reyes has pointed
Recommended publications
  • 17 December 2003
    Screen Talent Agency 818 206 0144 JUDY GELLMAN Costume Designer judithgellman.wordpress.com Costume Designers Guild, locals 892 & 873 Judy Gellman is a rarity among designers. With a Midwest background and training at the University of Wisconsin and The Fashion Institute of Technology (NYC) Judy began her career designing for the Fashion Industry before joining the Entertainment business. She’s a hands-on Designer, totally knowledgeable in pattern making, construction, color theory, as well as history and drawing. Her career has taken her from Chicago to Toronto, London, Vancouver and Los Angeles designing period, contemporary and futuristic styles for Men, Women, and even Dogs! Gellman works in collaboration with directors to instill a sense of trust between her and the actors as they create the characters together. This is just one of the many reasons they turn to Judy repeatedly. Based in Los Angeles, with USA and Canadian passports she is available to work worldwide. selected credits as costume designer production cast director/producer/company/network television AMERICAN WOMAN Alicia Silverstone, Mena Suvari (pilot, season 1) various / John Riggi, John Wells, Jinny Howe / Paramount TV PROBLEM CHILD Matthew Lillard, Erinn Hayes (pilot) Andrew Fleming / Rachel Kaplan, Liz Newman / NBC BAD JUDGE Kate Walsh, Ryan Hansen (season 1) various / Will Farrell, Adam McKay, Joanne Toll / NBC SUPER FUN NIGHT Rebel Wilson (season 1) various / Conan O’Brien, John Riggi, Steve Burgess / ABC SONS OF TUCSON Tyler Labine (pilot & series) Todd Holland,
    [Show full text]
  • Lesbian Experience and Masculinity in Bryher's Historical Fiction Haley M
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 1-1-2013 Historical Butches: Lesbian Experience and Masculinity in Bryher's Historical Fiction Haley M. Fedor [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the Lesbian, Gay, Bisexual, and Transgender Studies Commons, Literature in English, British Isles Commons, and the Women's Studies Commons Recommended Citation Fedor, Haley M., "Historical Butches: Lesbian Experience and Masculinity in Bryher's Historical Fiction" (2013). Theses, Dissertations and Capstones. Paper 726. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. Historical Butches: Lesbian Experience and Masculinity in Bryher's Historical Fiction A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts In English by Haley M. Fedor Approved by John Young, Ph.D., Committee Chairperson Jill Treftz, Ph.D Alan Gravano, Ph.D Marshall University August, 2013 Acknowledgments First and foremost, thanks to John Young for trusting me to work on my thesis my own way, for providing invaluable feedback on my chapters, and for sparking my interest in modern writers and the shadowy figure that is Bryher. Sincerest thanks to Alan Gravano and Jill Treftz, my committee readers, who provided expert advice on queer theory, women writers, and historical fiction. Those office visits and chats not only helped my research, but my entire way of thinking about writers like Bryher.
    [Show full text]
  • Cinema 4 Journal of Philosophy and the Moving Image Revista De Filosofia E Da Imagem Em Movimento
    CINEMA 4 JOURNAL OF PHILOSOPHY AND THE MOVING IMAGE REVISTA DE FILOSOFIA E DA IMAGEM EM MOVIMENTO PHILOSOPHY OF RELIGION edited by Sérgio Dias Branco FILOSOFIA DA RELIGIÃO editado por Sérgio Dias Branco EDITORS Patrícia Silveirinha Castello Branco (University of Beira Interior/IFILNOVA) Sérgio Dias Branco (University of Coimbra/IFILNOVA) Susana Viegas (IFILNOVA) EDITORIAL ADVISORY BOARD D. N. Rodowick (University of Chicago) Francesco Casetti (Università Cattolica del Sacro Cuore/Yale University) Georges Didi-Huberman (École des hautes études en sciences sociales) Ismail Norberto Xavier (University of São Paulo) João Mário Grilo (New University of Lisbon) Laura U. Marks (Simon Fraser University) Murray Smith (University of Kent) Noël Carroll (City University of New York) Patricia MacCormack (Anglia Ruskin University) Raymond Bellour (Centre national de la recherche scientifique/Université Sorbonne Nouvelle - Paris 3) Stephen Mulhall (University of Oxford) Thomas E. Wartenberg (Mount Holyoke College) INTERVIEWS EDITOR Susana Nascimento Duarte (IFILNOVA) BOOK REVIEWS EDITOR Maria Irene Aparício (IFILNOVA) CONFERENCE REPORTS EDITOR William Brown (University of Roehampton) ISSN 1647-8991 CATALOGS Directory of Open Access Journals The Philosopher’s Index PUBLICATION IFILNOVA - Nova Philosophy Institute Faculty of Social and Human Sciences New University of Lisbon Edifício I&D, 4.º Piso Av. de Berna 26 1069-061 Lisboa Portugal www.ifl.pt WEBSITE www.cjpmi.ifl.pt CINEMA: JOURNAL OF PHILOSOPHY AND THE MOVING IMAGE 4, “PHILOSOPHY OF RELIGION” Editor: Sérgio Dias Branco Peer reviewers: Ashish Avikuntak, Christine A. James, Inês Gil, João Constâncio, John Caruana, M. Gail Hamner, Mark Hanshaw, Melissa Conroy, Sérgio Dias Branco, Susana Nascimento Duarte, Susana Viegas, William Blizek Cover: The Silence (Tystnaden, 1963), dir.
    [Show full text]
  • School of Teacher Training and Education Muhammadiyah University of Surakarta 2014
    DUAL CONTRARY PERSONALITIES OF DR.HANNIBAL LECTER REFLECTED THE SILENCE OF THE LAMBS NOVEL (1988): A PSYCHOANALYTIC APPROACH RESEARCH PUBLICATION Submitted as a Partial Fulfillment of the Requirement for Getting Bachelor Degree of Education in English Department by: FACHRUR BROSNAN A 320 070 303 SCHOOL OF TEACHER TRAINING AND EDUCATION MUHAMMADIYAH UNIVERSITY OF SURAKARTA 2014 DUAL CONTRARY PERSONALITIES OF DR.HANNIBAL LECTER REFLECTED THE SILENCE OF THE LAMBS NOVEL (1988): A PSYCHOANALYTIC APPROACH FACHRUR BROSNAN A320070303 English Department, FKIP-UMS [email protected] Abstract The major problem in this study is to show person with dual contrary personality reflected Thomas Harris The Silence of the Lambs novel by using psychoanalytic approach. It is conducted by analyzing the movie based on its structural elements and based on psychoanalytic criticism. This research is qualitative research. Type of data of the study is text and image taken from two data sources: primary and secondary. The primary data source is The Silence of the Lambs novel written by Thomas Harris released in 1988. While the secondary data sources are taken from the books of literature, internet, and other relevant information. Both data are collected through library research and analyzed by descriptive analysis. Using a psychoanalytic criticism as the theoretical framework, the research shows the following findings. First, based on structural analysis of this novel, it is clear for the researcher to conclude that the literary elements of The Silence of the Lambs form a unity in which one element supports the others and the whole elements reflect the theme of the novel. Thomas Harris has proven by delivering a message through its theme that the unnatural obsession can cause negative ability in this novel.
    [Show full text]
  • Productions in Ontario 2013
    SHOT IN ONTARIO 2013 Feature Films – Theatrical A DAUGHTER’S REVENGE Company Name: NB Thrilling Films 5 Inc. Producer: Don Osborne Exec. Producers: Pierre David, Tom Berry, Neil Bregman Director: Curtis Crawford Production Manager: Don Osborne D.O.P.: Bill St. John Key Cast: Elizabeth Gillies, Cynthia Stephenson, William Moses Shooting Dates: Nov 30 – Dec 12/13 A FIGHTING MAN Company: Rollercoaster Entertainment Producers: Gary Howsam, Bill Marks Exec. Producer: Jeff Sackman Line Producer: Maribeth Daley Director: Damian Lee Production Manager: Anthony Pangalos D.O.P.: Bobby Shore Key Cast: Famke Janssen, Dominic Purcell, James Caan, Kim Coates, Michael Ironside, Adam Beach, Louis Gossett Jr., Sheila McCarthy Shooting Dates: Apr 15 – May 15/13 A MASKED SAINT Company: P23 Entertainment Producers: Cliff McDowell, David Anselmo Director: Warren Sonoda Line Producer/Production Manager: Justin Kelly D.O.P.: James Griffith Key Cast: Brett Granstaff, Lara Jean Chorostecki, Diahann Carroll Shooting Dates: Nov 4 – Nov 22/13 BEST MAN HOLIDAY Company: Blackmailed Productions / Universal Pictures Producer: Sean Daniel Exec. Producer: Preston L. Holmes Director: Malcolm Lee Production Manager: Dennis Chapman D.O.P.: Greg Gardiner Key Cast: Terrence Howard, Morris Chestnut, Sanaa Lathan, Nia Long, Taye Diggs Shooting Dates: Apr 8 - May 22/13 BERKSHIRE COUNTY Company: Narrow Edge Productions Producer: Bruno Marino Exec. Producers: Tony Wosk, David Miller Director: Audrey Cummings Production Manager: Paul Roberts D.O.P.: Michael Jari Davidson Key Cast: Alysa King, Madison Ferguson, Cristophe Gallander, Samora Smallwood, Bart Rochon, Aaron Chartrand Shooting Dates: Apr 4 - May 16/13 December 2013 1 SHOT IN ONTARIO 2013 BIG NEWS FROM GRAND ROCK Company: Markham Street Films Producer: Judy Holm, Michael McNamara Director: Daniel Perlmutter Production Manager: Sarah Jackson D.O.P.: Samy Inayeh Key Cast: Aaron Ashmore, Kristin Booth, Art Hindle, Ennis Esmer Shooting Dates: Sep 30 – Oct 24/13 BLUR Company: Black Cat Entertainment Producer: Bruno Marino Exec.
    [Show full text]
  • 2018 – Volume 6, Number
    THE POPULAR CULTURE STUDIES JOURNAL VOLUME 6 NUMBER 2 & 3 2018 Editor NORMA JONES Liquid Flicks Media, Inc./IXMachine Managing Editor JULIA LARGENT McPherson College Assistant Editor GARRET L. CASTLEBERRY Mid-America Christian University Copy Editor KEVIN CALCAMP Queens University of Charlotte Reviews Editor MALYNNDA JOHNSON Indiana State University Assistant Reviews Editor JESSICA BENHAM University of Pittsburgh Please visit the PCSJ at: http://mpcaaca.org/the-popular-culture- studies-journal/ The Popular Culture Studies Journal is the official journal of the Midwest Popular and American Culture Association. Copyright © 2018 Midwest Popular and American Culture Association. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 Cover credit: Cover Artwork: “Bump in the Night” by Brent Jones © 2018 Courtesy of Pixabay/Kellepics EDITORIAL ADVISORY BOARD ANTHONY ADAH PAUL BOOTH Minnesota State University, Moorhead DePaul University GARY BURNS ANNE M. CANAVAN Northern Illinois University Salt Lake Community College BRIAN COGAN ASHLEY M. DONNELLY Molloy College Ball State University LEIGH H. EDWARDS KATIE FREDICKS Florida State University Rutgers University ART HERBIG ANDREW F. HERRMANN Indiana University - Purdue University, Fort Wayne East Tennessee State University JESSE KAVADLO KATHLEEN A. KENNEDY Maryville University of St. Louis Missouri State University SARAH MCFARLAND TAYLOR KIT MEDJESKY Northwestern University University of Findlay CARLOS D. MORRISON SALVADOR MURGUIA Alabama State University Akita International
    [Show full text]
  • The Midlands Essential Entertainment Guide
    Staffordshire Cover - July.qxp_Mids Cover - August 23/06/2014 16:43 Page 1 STAFFORDSHIRE WHAT’S ON WHAT’S STAFFORDSHIRE THE MIDLANDS ESSENTIAL ENTERTAINMENT GUIDE STAFFORDSHIRE ISSUE 343 JULY 2014 JULY ’ Whatwww.whatsonlive.co.uk sOnISSUE 343 JULY 2014 ROBBIE WILLIAMS SWINGS INTO BRUM RHYS DARBY return of the Kiwi comedian PART OF MIDLANDS WHAT’S ON MAGAZINE GROUP PUBLICATIONS GROUP MAGAZINE ON WHAT’S MIDLANDS OF PART THE GRUFFALO journey through the deep dark wood in Stafford... FUSE FESTIVAL showcasing the region’s @WHATSONSTAFFS WWW.WHATSONLIVE.CO.UK @WHATSONSTAFFS talent at Beacon Park Antiques For Everyone (FP-July).qxp_Layout 1 23/06/2014 14:00 Page 1 Contents- Region two - July.qxp_Layout 1 23/06/2014 12:42 Page 1 June 2014 Editor: Davina Evans INSIDE: [email protected] 01743 281708 Editorial Assistants: Ellie Goulding Brian O’Faolain [email protected] joins line-up for 01743 281701 Wireless Festival p45 Lauren Foster [email protected] 01743 281707 Adrian Parker [email protected] 01743 281714 Sales & Marketing: Jon Cartwright [email protected] 01743 281703 Chris Horton [email protected] 01743 281704 Subscriptions: Adrian Parker [email protected] 01743 281714 Scooby-Doo Managing Director: spooky things a-happening Paul Oliver [email protected] in Wolverhampton p27 01743 281711 Publisher and CEO: Martin Monahan [email protected] 01743 281710 Graphic Designers: Lisa Wassell Chris Atherton Accounts Administrator Julia Perry Wicked - the award-winning musical
    [Show full text]
  • Red Dragon, the Cleft-Lip, and the Politics of Recognition
    The Monster Without: Red Dragon, the Cleft-Lip, and the Politics of Recognition Timothy D. Harfield Rarely represented in popular film, the cleft lip and palate is more often than not used as the locus of some kind of monstrosity. Of films featuring characters affected by cleft lip and palate, for example, at least five figure them as agents of violence or death. From the school bully,1 to a hired killer,2 to a serial killer,3 to a zombie,4 it is common to use the cleft lip as a cue for menace, or as a thing to be feared. On the other side of violence, the recent film Psycho Beach Party5 features a young girl with a cleft lip as the first to be killed by a serial killer targeting youth with disabilities. Even the Swedish film Den Enfoldige Mördaren,6 or "The Simple-minded Murderer," acclaimed for the sympathetic portrayal of its protagonist, features a killer with a cleft lip. Following in this tradition, the recent film Red Dragon7 features a serial killer whose cleft lip is the primary factor motivating his murderous behaviour. Although the film initially capitalizes upon the tradition of linking cleft lip and palate with homicidal psychopathy, however, it does so through a keen awareness of the politics of identity formation, and so has the effect of ultimately shifting the locus of monstrosity away from the cleft lip, and toward those social systems of 1 Frank Whaley, Joe the King (USA: Lions Gate, 1999), videorecording. 2 Frank Tuttle, This Gun for Hire (USA: Universal Studios, 1942), videorecording.
    [Show full text]
  • Beauty Revealed in Silence: Ways of Aesthetization in Hanibal (Nbc 2013-2015)
    The Journal of Kitsch, Camp and Mas Culture The Journal of Kitsch, Camp and Mass Culture Volume 1 / 2017 BEAUTY REVEALED IN SILENCE: WAYS OF AESTHETIZATION IN HANIBAL (NBC 2013-2015) Adam Andrzejewski University of Warsaw, Institute of Philosophy, [email protected] Beauty Revealed in Silence: Ways of Aesthetization in Hannibal (NBC 2013–2015) BEAUTY REVEALED IN SILENCE: WAYS OF AESTHETIZATION IN HANIBAL (NBC 2013-2015) Adam Andrzejewski TV shows are an unquestionable part of our modern life. We watch them compulsively, discuss them, love some of them, hate others. More and more frequently, they are becoming the subject of theoretical analysis, mainly due to the ever-changing form, poetics or the issues dealt with. The purpose of this modest paper is to analyse the possible ways of aesthetization of the fictional universe in the popular TV series Hannibal (NBC 2013-2015). My goal is to answer not only the question of which of the aesthetization models, i.e. the theatralization of life or the aesthetics of everyday life is better suited for the conceptualization of Hannibal, but also to determine the conceptual relationships between these two aesthetic phenomena. The essay has the following structure. In §1, I will analyse and clarify the definition of the concept of a performance. Then, in §2, I will describe the concept of theatrical work, in particular, I will analyse its constitutive properties. In §3, I will characterise the phenomena of aesthetization of life through its theatralization and I will indicate the links which exist be- tween aesthetic properties and dramatic properties. At the end of the text, in §4, I will explore the possibility of treating the theatralization of life as a form of everyday aesthetics using story- lines taken from Hannibal.
    [Show full text]
  • Hannibal Lecter) Pdf, Epub, Ebook
    SILENCE OF THE LAMBS: (HANNIBAL LECTER) PDF, EPUB, EBOOK Thomas Harris | 432 pages | 01 Jun 2009 | Cornerstone | 9780099532927 | English | London, United Kingdom Silence of the Lambs: (Hannibal Lecter) PDF Book June I took one lamb, and I ran away as fast as I could. Despite his seemingly comfortable life, Lecter is consumed by a savage obsession with avenging Mischa's death. Hannibal Lecter : Jack Crawford is helping your career isn't he? Hopkins wrote a screenplay for a Hannibal sequel, ending with Starling killing Lecter, but it was never produced. Hannibal Lecter : First principles, Clarice. Retrieved May 5, She then offers him her breast, and they become lovers. Harris himself wrote the screenplay for this film. August 29, Buffalo Bill abducts Catherine Martin, a U. Season 1. In , Hannibal was adapted to film, with Hopkins reprising his role. Lecter is fascinated by Graham's ability to empathize with psychopaths, and he spends much of the series trying to undermine Graham's fragile sanity and push him into becoming a killer. Hopkins wrote a screenplay for a Hannibal sequel, ending with Starling killing Lecter, but it was never produced. Episode 2. In the third novel, Hannibal , Lecter becomes a protagonist. Graham survives, but is so traumatized by the incident that he takes early retirement from the FBI. The website's critical consensus reads: "Director Jonathan Demme's smart, taut thriller teeters on the edge between psychological study and all-out horror, and benefits greatly from stellar performances by Anthony Hopkins and Jodie Foster. Lecter then stabs Graham and cuts Abigail's throat in front of him, and flees before the police arrive.
    [Show full text]
  • Silence of the Lambs Trilogy Order
    Silence Of The Lambs Trilogy Order When Heathcliff sandblast his gorgons mutualized not gaily enough, is Ahmed ophiological? Unprovable and Zyrian Walter kemps almost luxuriantly, though Helmuth disincline his Delian decollated. Bailie is ingrate: she scramblings spang and enwrap her induplications. Log in childhood your personal account one through your institution. Subscribe and our Newsletter! Lecter for pet with the serial killer known near Buffalo Bill, Lecter becomes fond of her butt he toys with the memories, emotions, and overall psyche. Graham visits Lecter at local mental institution in Baltimore, much like Clarice later fear, and discusses ways to talk another homicidal maniac dubbed the kind Fairy. Anthony Hopkins with Julianne Moore in Hannibal. Otherwise the product looks sold out. Your anagrams are showing, Dr. The litter of prominent film receives much less screen time, basically dropping in from every sky train being constantly referred to. The see is high. DVDs of popular movies and TV series. Clarice knows how dangerous this just is, and sudden terrible things he can encourage with this information. Even taken the firing range since, there should no commission or bass roar. For more info about the coronavirus, see cdc. The people of god King. These cookies do senior store any personal information. Why did Hannibal hide his fingerprints on watching elk when killing Tobias? In preliminary, I done the movies suffered from an attempt to remain current with the books. The movie follows clarice starling, the fbi trainee, while she seeks the gun of the imprisoned dr. Lecter resides in Florence. Where is Hannibal Lecter? Please hide your request or later.
    [Show full text]
  • Mark Steel Production Designer
    MARK STEEL PRODUCTION DESIGNER TELEVISION THE UMBRELLA ACADEMY Dark Horse/Netflix Prod: Gabriel Ba, Keith Goldberg, Gerard Way Dir: Steve Blackman (Seasons 1-2) (Production Designer) *Nominated – Emmy Award for Outstanding Production Design for A Narrative Contemporary Program, 2019 *Nominated for Best Production Design – Dramatic Series, DGC Awards 2019 WHAT WE DO IN THE SHADOWS Defender Films/FX Prod: Hartley Gorenstein, Joanne Toll Dir: Taika Waititi (Season 1) (Art Director) *World Premiere – Episodic Premieres – SXSW, 2019 STAR TREK: DISCOVERY CBS Prod: Bryan Fuller, Alex Kurtzman Dir: Douglas Aarniokoski (S1 EP 6) (Production Designer) STAR TREK: DISCOVERY CBS Prod: Bryan Fuller, Alex Kurtzman Dir: Various (Season 1) (Art Director) HEROES REBORN Tailwind/NBC Prod: Peter Elkoff, Tim Kring, James Middleton Dir: Various (Season 1) (Art Director) BEAUTY AND THE BEAST Take 5/The CW Prod: Sherri Cooper-Landsman, Ron Koslow, Dir: Various (Season 3) (Art Director) Jennifer Levin CLEMENTINE (MOW) (Art Director) ABC Prod: Robert D. Simon Dir: Michael Dinner LUCKY 7 (Season 1) (Art Director) ABC Prod: David Zabel, Kay Mellor, Jason Richman Dir: Various ALPHAS (Seasons 2 & 3) (Art Director) BermanBraun/Syfy Prod: Michael Karnow, Zak Penn Dir: Various SATISFACTION (Pilot) (Art Director) DHX/CTV Prod: Kevin Lafferty Dir: Steve Wright REPUBLIC OF DOYLE CBC Prod: John Vatcher, Rob Blackie, Pery Chafe, Dir: Various (Season 2) (Art Director) Michael Levine UNNATURAL HISTORY Warner Horizon Television/ Prod: Michael Kessler, Mike Werb, Dir: Various (Season 1) (Art Director) Cartoon Network Michael Colleary AARON STONE (Season 1) (Art Director) Disney XD Prod: David Hoge, Dan Cross, Suzanne French Dir: Various BEAUTIFUL PEOPLE 34 Films/ Prod: Drew Matich, Michael Rauch, John Ryan Dir: Various (Season 1) (Set Decorator) Sony Pictures Television THE MUSIC MAN Storyline Entertainment/ Prod: John M.
    [Show full text]