Placer estético y repugnancia en Hannibal: identificación dramática, prolongación temporal y puesta en escena
DOI:
https://doi.org/10.7764/cdi.44.1556Palabras clave:
Hannibal, televisión, estética, relato, repugnanciaResumen
El artículo explora cómo la serie de televisión Hannibal (NBC, 2013-2015) provoca una honda delectación estética, a pesar de presentar numerosos contenidos repulsivos o incómodos. Se analiza cómo la naturaleza serial de la narración televisiva habilita una manera particular de negociar la paradoja de la aversión mediante tres estrategias textuales: un dilatado character engagement, un suspense que exprime las posibilidades estéticas de la prolongación temporal y una bella puesta en escena de motivos visuales y acciones horripilantes. Son estrategias que generan una robusta fascinación en el espectador, lo que permite subvertir las características de lo repugnante.
Citas
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Bernardelli, A. (2016). Criminal Ethics. The Anti-Hero’s Transformations in TV Series. Between, 6(11). https://doi.org/10.13125/2039-6597/2120
Brinker, F. (2015). NBC’s Hannibal and the Politics of Audience Engagement. In B. Däwes, A. Ganser, & N. Poppenhagen (Eds.), Transgressive Television: Politics and Crime in 21st-Century American TV Series (pp. 303-328). Heidelberg: Universitätsverlag Winter.
Brottman, M. (1997). Offensive Films: Toward an Anthropology of Cinéma Vomitif. Westport: Greenwood Press.
Brottman, M. (2004). Mondo Horror: Carnivalizing the Taboo. In S. Prince (Ed.), The Horror Film (pp. 167-188). New Brunswick: Rutgers University Press.
Brown, S. & Dissanayake, E. (2009). The Arts are more than Aesthetics: Neuroaesthetics as Narrow Aesthetics. In M. Skov & O. Vartanian (Eds.), Neuroaesthetics (pp. 43-57). New York: Routledge. https://doi.org/10.4324/9781315224091
Buonanno, M. (Ed.). (2017). Television Antiheroines: Women Behaving Badly in Crime and Prison Drama. Chicago: Chicago University Press.
Cardwell, S. (2006). Television aesthetics. Critical Studies in Television: The International Journal of Television Studies, 1(1), 72-80. https://doi.org/10.7227/CST.1.1.10
Carroll, A. (2015). ‘We’re Just Alike’: Will Graham, Hannibal Lecter, and the Monstrous-Human. Studies in Popular Culture, 38(1), 41-63. Retrieved from https://www.jstor.org/stable/44259584
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Cascajosa, C. (2011). Quality Exploitation: Nip/Tuck and the Politics of Provocation in FX Dramas. In R. Kaveney & J. Stoy (Eds.), Nip/Tuck: Television that Gets under Your Skin (pp. 114-127). London: IB Tauris.
Crisóstomo, R. (2018). Los ecos del caníbal: homenajes estilísticos y pilares cinematográficos de Hannibal (The cannibal’s echoes: stylistic tributes and cinematographic keys of Hannibal). In A. N. García Martínez & M. J. Ortiz (Eds.), Cine y series: la promiscuidad infinita (Cinema and TV-Series: the endless promiscuity) (pp. 139-155). Sevilla: Comunicación Social.
De Clercq, R. (2013). Beauty. In B. Gaut & D. M. Lopes (Eds.), The Routledge Companion to Aesthetics (pp. 299-308). New York: Routledge.
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Jowett, L. & Abbott, S. (2013). TV Horror: Investigating the Dark Side of the Small Screen. New York: IB Tauris.
Kelleter, F. & Loock, K. (2017). Hollywood Remaking as Second-order Serialization. In F. Kelleter (Ed.), Media of Serial Narrative (pp. 125-147). Columbus: The Ohio State University Press.
Kelso, T. (2009). And Now no Word from our Sponsor: How HBO Puts the Risk back into Television. In M. Leverette, B. L. Ott, & C. L. Buckley (Eds.), It’s Not TV: Watching HBO in the Post-Television Era (pp. 58-76). New York: Routledge.
Kieran, M. (1997). Aesthetic value: Beauty, ugliness and incoherence. Philosophy, 72(281), 383-399. https://doi.org/10.1017/S0031819100057077
Korsmeyer, C. (2011). Savoring Disgust. The Foul and the Fair in Aesthetics. New York: Oxford University Press.
Later, N. (2018). Quality Television (TV) Eats Itself: The TV-Auteur and the Promoted Fanboy. Quarterly Review of Film and Video, 35(6), 531-551. https://doi.org/10.1080/10509208.2018.1499349
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McGinn, C. (2011). The Meaning of Disgust. New York: Oxford University Press.
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Elliott, J. (2018). This is my Becoming: Transformation, Hybridity, and the Monstrous in NBC’s Hannibal. University of Toronto Quarterly, 87(1), 249-265. https://doi.org/10.3138/utq.87.1.249
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Goodman, T. (2013, January 8). The Following: TV Review. The Hollywood Reporter. Retrieved from https://www.hollywoodreporter.com
Gray, J. D. (Writer) & Rymer, M. (Director). (2013). Amuse-Bouche (Television series episode). In B. Fuller & M. De Laurentiis (Executive Producers), Hannibal. New York: NBC.
Hanich, J. (2009). Dis/liking disgust: the revulsion experience at the movies. New Review of Film and Television Studies, 7(3), 293-309. https://doi.org/10.1080/17400300903047052
Jacobs, J. (2006). Television Aesthetics: an Infantile Disorder. Journal of British Cinema and Television, 3(1), 19-33. https://doi.org/10.3366/JBCTV.2006.3.1.19
Jowett, L. & Abbott, S. (2013). TV Horror: Investigating the Dark Side of the Small Screen. New York: IB Tauris.
Kelleter, F. & Loock, K. (2017). Hollywood Remaking as Second-order Serialization. In F. Kelleter (Ed.), Media of Serial Narrative (pp. 125-147). Columbus: The Ohio State University Press.
Kelso, T. (2009). And Now no Word from our Sponsor: How HBO Puts the Risk back into Television. In M. Leverette, B. L. Ott, & C. L. Buckley (Eds.), It’s Not TV: Watching HBO in the Post-Television Era (pp. 58-76). New York: Routledge.
Kieran, M. (1997). Aesthetic value: Beauty, ugliness and incoherence. Philosophy, 72(281), 383-399. https://doi.org/10.1017/S0031819100057077
Korsmeyer, C. (2011). Savoring Disgust. The Foul and the Fair in Aesthetics. New York: Oxford University Press.
Later, N. (2018). Quality Television (TV) Eats Itself: The TV-Auteur and the Promoted Fanboy. Quarterly Review of Film and Video, 35(6), 531-551. https://doi.org/10.1080/10509208.2018.1499349
Leitch, T. (2002). Twice-told tales: Disavowal and the rhetoric of the remake. In J. Forrest & L. R. Koos (Eds.), Dead Ringers: The Remake in Theory and Practice (pp. 37-62). Albany: State University of New York Press.
Leverette, M. (2008). Cocksucker, motherfucker, tits. In M. Leverette, B. L. Ott, & C. L. Buckley (Eds.), It’s Not TV: Watching HBO in the Post-Television Era (pp. 123-151). New York: Routledge.
Levinson, J. (2013). Suffering Art Gladly: The Paradox of Negative Emotion in Art. London: Palgrave McMillan. https://doi.org/10.1057/9781137313713
Logsdon, R. (2017). Merging with the Darkness: An Examination of the Aesthetics of Collusion in NBC’s Hannibal. The Journal of American Culture, 40(1), 50-65. https://doi.org/10.1111/jacc.12678
Lotz, A. D. (2009). Beyond Prime Time: Television Programming in the Post- Network Era. New York: Routledge.
Lynch, A. (2018). Tossed Salads and Scrambled Brains: Frasier, Hannibal and Good Taste in Quality Television (TV). Quarterly Review of Film and Video, 35(6), 630-643. https://doi.org/10.1080/10509208.2018.1499343
Mâle, E. (2018). The Gothic Image: Religious Art in France Of The Thirteenth Century. New York: Routledge. https://doi.org/10.4324/9780429492815
McGinn, C. (2011). The Meaning of Disgust. New York: Oxford University Press.
Medina Contreras, J. (2018). Figura y fondo. Realidad y ensoñación en Hannibal (Figure and background. Reality and dream in Hannibal). In M. A. Huerta & P. Sangro (Eds.), La estética televisiva en las series contemporáneas (Television Aesthetics in Contemporary TV-Series) (pp. 189-205). Valencia: Tirant Lo Blanch.
Menninghaus, W. (2003). Disgust: Theory and History of a Strong Sensation. Albany: State University of New York Press.
Miller, W. I. (1997). The Anatomy of Disgust. Cambridge: Harvard University Press.
Mittell, J. (2015). Lengthy Interactions with Hideous Men: Walter White and the Serial Poetics of Television Anti-heroes. In R. Pearson & A. N. Smith (Eds.), Storytelling in the Media Convergence Age (pp. 74-92). London: Palgrave Macmillan. https://doi.org/10.1057/9781137388155_5
Nannicelli, T. (2017). Appreciating the Art of Television: A Philosophical Perspective. New York: Routledge. https://doi.org/10.4324/9781315732633
Ndalianis, A. (2015). Hannibal: A disturbing feast for the senses. Journal of Visual Culture, 14(3), 279-284. https://doi.org/10.1177/1470412915607928
Newman, M. Z. & Levine, E. (2012). Legitimating Television: Media Convergence and Cultural Status. New York: Routledge. https://doi.org/10.4324/9780203847640
Nielsen, E. J. & Kavita Mudan Finn, K. (2018). Blood in the Moonlight: Hannibal as Queer Noir. Quarterly Review of Film and Video, 35(6), 568-582. https://doi.org/10.1080/10509208.2018.1499347
Nimerfro, S. & Fuller, B. (Writers), & Semel, D. (Director). (2014). Takiawase (Television series episode). In B. Fuller & M. De Laurentiis (Executive Producers), Hannibal. New York: NBC.
O’Sullivan, S. (2017). The Inevitable, the Surprise, and Serial Television. In F. Kelleter (Ed.), Media of Serial Narrative (pp. 204-221). Columbus: The Ohio State University Press.
Plantinga, C. (2010). ‘I Followed the Rules, and they all Loved You More’: Moral Judgment and Attitudes Toward Fictional Characters in Film. Midwest Studies in Philosophy 34(1), 34-51. https://doi.org/10.1111/j.1475-4975.2010.00204.x
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Publicado
2020-08-09
Cómo citar
García, A. N. (2020). Placer estético y repugnancia en Hannibal: identificación dramática, prolongación temporal y puesta en escena. Cuadernos.Info, (44), 209–224. https://doi.org/10.7764/cdi.44.1556
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TEMAS GENERALES
