Guy Maddin, gospodar zombijev

Cerise Howard

Povzetek:

Guy Maddin je filmski avtor, ki ga pregledi in preiskave zombi podžanra domala brez izjeme prezrejo. Pričujoče besedilo želi to krivico popraviti, ne le z naštevanjem očitnih primerov Maddinove izrecne uporabe tropov zombi filma, pač pa z ilustracijo dejstva, da je filmski korpus slovitega winnipeškega režiserja v celoti utemeljen na ekshumaciji, v filmu samem in onkraj. Maddin vseskozi oživlja že davno umrle filmske estetike, govorice, žanre, igralske sloge ali kar cele izgubljene filme, obenem pa vselej privilegira še estetiko starostne obrabe in dekompozicije filmskega materiala. Njegov film je film izgube spomina, poln mesečnikov in hipnotičnih obsedencev, katerih dejanja oživljajo epizode iz Maddinove pogosto travmatične avtobiografije. To je film, ki od zombifikacije in nemrtvosti poka po šivih. Medtem ko v osebi samega avtorja besedilo prepozna tako figuro zombija kot zombi gospodarja, tipa Lugosijev 'Murder' Legendre iz filma Beli zombi (White Zombie, 1932, Victor Halperin). Še več, v aktu zombifikacije je, kot bomo videli, udeležena tudi Maddinova cinefilska publika – s tem pa cinefilska publika kot taka. Tisto, kar razprava konec koncev stavi na kocko, ni namreč nič manj kot trditev, da je cinefilija v temelju zombično početje. In Maddin, izrazito cinefilski filmar, se tej tezi ponuja kot idealno izhodišče. Analogije režiserjevim zombi-filmskim praksam pa se spotoma razkrijejo tako v omejitvah igralske »metode«, teoretični misli Laure Mulvey kot v sporni problematiki filmskih kanonov.

Abstract:

Guy Maddin, Zombie Master

Guy Maddin is a filmmaker almost invariably overlooked in the consideration of zombie films. This essay aims to right that wrong, not only by dredging up multiple clear instances where Maddin has explicitly employed the tropes of zombie films in his work, but also in demonstrating that, in fact, the entire cinematic corpus of Winnipeg's most celebrated filmmaker is predicated upon exhumation, on and off the screen. Maddin is forever resurrecting long dead film aesthetics, language, genres, performance styles and even entire lost films, whilst ever privileging an aesthetic of impossible material agedness and decomposition. His is a cinema full of somnambulists, amnesiacs and entranced obsessives whose actions resurrect elements of Maddin's often traumatic autobiography. It is a cinema absolutely bursting at the seams with zombie-ism and undeath. Maddin himself will be positioned both as zombie and zombie master, à la Bela Lugosi's 'Murder' Legendre in White Zombie (Victor Halperin, 1932). Moreover, his cinephilic audience, extensible to all cinephile audiences, will be implicated in zombie-ism as well. Ultimately at stake in this essay is nothing less than an argument for cinephilia as an entirely zombie fascination, with Maddin, one of the most cinephilic of all filmmakers, providing the perfect springboard for this argument. Along the way, analogues for Maddin's zombie film practices will be explored variously in the limitations of method acting, in the writing of Laura Mulvey and in the vexing matter of film canons.