نوع مقاله : مقاله پژوهشی
نویسندگان
1 هیات علمی دانشگاه هنر
2 کارشناسی ارشد سینما، دانشکده هنر، دانشگاه سوره
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
The concept of abjection was first introduced by Julia Kristeva in her book Powers of Horror. Abjection serves as a tool for defending the integrity of the boundaries of subjectivity, which means the process of expelling the Other from oneself. Abjection is essential for subjectivity because it facilitates the formation of identity. According to Kristeva's theory, abjection is a psychological phenomenon that begins in childhood before the mirror stage, that is, before the period of six to eight months in a child. the time when the child recognizes himself as a unique being and separate from others. This stage is necessary for the child's psychological growth, mental independence and preservation of his life. The presence of the abject unsettles the subject’s sense of purity, creating a deep-seated worry and fear that nowhere and at no time can one truly be safe from abjection.
The most important example of abjection is the mother, who is perceived as "abject." The child does not see a difference between its own body and the mother’s body. However, subjectivity must find a difference and a gap between the Other and itself in order to establish an independent identity. Despite the child’s fascination with the mother’s body, it needs abjection to save itself. Death is another form of abjection. The self must always maintain its boundaries, as decaying and rotting corpses, bad odors, and the changes that occur after death make the subjectivity’s identity appear to be in a state of transformation. In general, abjection occurs when an individual’s or society’s identity boundaries are threatened by what is considered abject. The abject can include things like festering wounds, dead bodies, or bodily fluids, but sometimes social groups such as Black people, LGBTQ+ individuals, and people with AIDS are also seen as forms of abjection. Therefore, labeling a phenomenon as abject does not necessarily imply that it has inherent impurity; rather, it means that the abject threatens the personal and social identity of a structure, does not recognize its boundaries, and transgresses them. The concept of abjection is often explored in literature and literary texts. Literature is a way of purifying the soul from impurities, but this concept, as much as it applies to literature, is also relevant in cinema. This study examines the works of David Cronenberg, where various elements of abjection are depicted. Cronenberg presents these elements through story, mise-en-scène, color, lighting, and his violent and repulsive imagery. This research is qualitative in terms of data, fundamental and theoretical in terms of its goals, and descriptive and analytical in terms of its nature and method. It aims to study and analyze Julia Kristeva’s views on abjection, using David Cronenberg's films as a case study. The research will address how the filmmaker uses elements of abjection in his films and how the concept of abjection can be explored in cinema, especially in the horror genre.
Keywords: Abjection, the abject, Julia Kristeva, Powers of Horror, horror cinema, David Cronenberg
کلیدواژهها [English]
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