The Fly

Film director David Cronenberg's The Fly (1986) established him as a major auteur. This paper shows that Cronenberg's film, based on the original The Fly (1959), has distinct connections in the area of Cronenberg's signature "transformation" and "new flesh" tropes to another horror film from the late 50's era: The Manster (1959). This paper examines the connections and asks if Cronenberg saw and was formatively influenced by The Manster as an avid teenage movie-goer circa 1960.

Body-Horror sinema tarihinin başlangıcından günümüze dek izi sürülebilen bir alt türdür. Bu alt türle ilişkide olan korku filmlerinin dikkat çeken ortak özelliği; bedene ve bedenin başkalaşmasına odaklanmalarıdır. Başkalaşan-beden teması üç başlık altında toplanabilir: Hastalık, bedensel dönüşüm, biyolojik erkek ya da kadın bedeninin geçişkenleşmesiyle toplumsal cinsiyet ikiliğini (kadın-erkek) muğlaklaştırma. Tam metin için lütfen mesaj atınız.
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This chapter analyses the point-of-view shot (POV) shot embodying animals’ gaze and reflects upon how images and narratives oscillate between our symbolic projections on animals and their perceptions or biological realities. After sketching a brief history of the ways in which the animal POV shot has been codified and discussing the foundational role of the POV shot in film editing, I highlight some recurrent patterns. By means of several examples—ranging from early British scientific documentaries to more recent movies, such as, Almodovar’s Qué he hecho yo para merecer esto, Herzog’s Bad Lieutenant, or The Simpsons episode “Bart’s Dog Gets an F”—this chapter identifies the main functions that can be assigned to the animal POV shot: the animal as an actual threat to humans’ lives (as it is shown in horror films), the animal as a full gazing-subject, whose unfamiliar sensory system challenges human certainties and perceptions of reality, and finally the animal as a “careless witness,” whose point of view serves to decentre humans from their own narratives.

Auf Basis der Signaturfunktion des Director-Cameos, wie er vornehmlich durch Alfred Hitchcock bekannt wurde, wird die bisweilen selbstreflexive und selbstinszenatorische Dimension dieser Auftritte erarbeitet. Anhand von Roman Polanski, Martin Scorsese und David Cronenberg zeigt der Text die Schöpfergeste der Regisseure auf, die sich als aktiver Eingriff in das Werk und dessen Figuren offenbart.