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Sensations of Dysphoria in the Encounter of Failing Bodies: The Cases of Karaoke by Donigan Cumming, Last Days by Gus Van Sant, and Drunk by Gillian Wearing

100%
Tremblay É.
Acta Universitatis Sapientiae, Film and Media Studies
|
2013
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vol. 7
|
issue 1
127-139
EN
The essay examines films and video installations that present the figures of suffering bodies and trigger strong dysphoric sensations through empathy: Karaoke (1998) by Donigan Cumming, Last Days (2005) by Gus Van Sant, and Drunk (2000) by Gillian Wearing. In addition to strong pathemic strategies that intensify the reception of the image, these artworks also contain counter-pathemic elements that distance the viewer from pathos. These long, moving, close examinations of pathemic physical states not only project the viewer into a frozen, insistent, and fascinated gaze at the suffering body and place him or her in a mirrored passive position but also offer an opportunity to move from sensation to sentiment, and then to sensitivity toward and experience of various stages of the empathetic response.
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Nuda podróżowania, nuda czekania. "Gerry" Gusa Van Santa a teatr Samuela Becketta

80%
Popielecki J.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2009
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vol. 7
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issue 13-14
225-234
EN
Jakub Popielecki draws on Roger Ebert’s anecdote and discusses similarities between Gus Van Sant’s Gerry and the theatre of Samuel Beckett. The movie and Beckett’s plays (such as Waiting for Godot) share many components: a sexually ambiguous pair of main characters, Buster Keaton’s physical comedy as a source of inspiration and use of wordplay in the title. Is Van Sant’s film a rethinking of “Beat Generation”-inspired road movie mythology? Are the characters played by Matt Damon and Casey Affleck nomads (as described by Gilles Deleuze)? What connects Van Sant’s and Beckett’s works with the phenomenon of boredom? Popielecki sees the minimalist style of these artists as a sign of a new attitude towards the problem of aesthetic experience.
PL
Boredom of travelling, boredom of waiting. Gus Van Sant’s “Gerry” and the theatre of Samuel Beckett Jakub Popielecki draws on Roger Ebert’s anecdote and discusses similarities between Gus Van Sant’s Gerry and the theatre of Samuel Beckett. The movie and Beckett’s plays (such as Waiting for Godot) share many components: a sexually ambiguous pair of main characters, Buster Keaton’s physical comedy as a source of inspiration and use of wordplay in the title. Is Van Sant’s film a rethinking of “Beat Generation”-inspired road movie mythology? Are the characters played by Matt Damon and Casey Affleck nomads (as described by Gilles Deleuze)? What connects Van Sant’s and Beckett’s works with the phenomenon of boredom? Popielecki sees the minimalist style of these artists as a sign of a new attitude towards the problem of aesthetic experience.
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