Placer estético y repugnancia en Hannibal: identificación dramática, prolongación temporal y puesta en escena

Autores/as

  • Alberto N. García Universidad de Navarra (España)

DOI:

https://doi.org/10.7764/cdi.44.1556

Palabras clave:

Hannibal, televisión, estética, relato, repugnancia

Resumen

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.

Descargas

Los datos de descargas todavía no están disponibles.

Biografía del autor/a

Alberto N. García, Universidad de Navarra (España)

Profesor titular de Comunicación Audiovisual en la Universidad de Navarra. Ha sido visiting professor en la University of Queensland, University of Stirling y George Washington University. Su trabajo académico se centra en la televisión anglosajona. Ha publicado artículos sobre la naturaleza del relato serial, la evolución del zombi, Breaking Bad, The Wire, The Shield o Supernatural. Es editor de Emotions in Contemporary TV Series (Palgrave, 2016) y Cine y series. La promiscuidad infinita (Comunicación Social, 2018).

Citas

Abbott, S. (2018). Not Just Another Serial Killer Show: Hannibal, Complexity, and the Televisual Palimpsest. Quarterly Review of Film and Video, 35(6), 552-567. https://doi.org/10.1080/10509208.2018.1499348
Akass, K. & McCabe, J. (2007). Sex, Swearing and Respectability: Courting Controversy, HBO’s Original Programming and Producing Quality TV. In J. McCabe & K. Akass (Eds.), Quality TV. Contemporary American Television and Beyond (pp. 62-76). New York: IB Tauris.
Balanzategui, J. (2018). The Quality Crime Drama in the TVIV Era: Hannibal, True Detective, and Surrealism. Quarterly Review of Film and Video, 35(6), 657-679. https://doi.org/10.1080/10509208.2018.1499341
Baumbach, S. (2010). Medusa’s Gaze and the Aesthetics of Fascination. Anglia-Zeitschrift für englische Philologie, 128(2), 225-245. https://doi.org/10.1515/angl.2010.029
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
Carroll, N. (2004). Sympathy for the Devil. In R. Greene & P. Vernezze (Eds.), The Sopranos and Philosophy: I Kill Therefore I Am (pp. 121–136). Chicago: Open Court.
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.
Dempster, S. (2013, January 19). The Following is a brainless, gratuitous bloodbath. The Guardian. Retrieved from https://www.theguardian.com
Dionne, Z. (2014, September 11). Composer Brian Reitzell Explains His Psychotic Music for NBC’s Hannibal. Vulture. Retrieved from http://www.vulture.com
Dow, H. J. (1957). The Rose-Window. Journal of the Warburg and Courtauld Institutes, 20(3/4), 248-297.
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
Fludernik, M., Freeman, D., & Freeman, M. (1999). Metaphor and Beyond: An Introduction. Poetics Today, 20(3), 383-396. Retrieved from https://www.jstor.org/stable/1773271?seq=2#metadata_info_tab_contents
Fuchs, M. & Phillips, M. (2017). Eat, Kill,... Love? Courtship, Cannibalism, and Consumption in Hannibal. In C. J. Miller & A. Bowdoin Van Riper (Eds.), What’s Eating You?: Food and Horror on Screen (pp. 205-219). New York: Bloomsbury Academic. https://doi.org/10.5040/9781501322402_ch-012
García, A. N. (2016). Moral Emotions, Antiheroes and the Limits of Allegiance. In A. N. García (Ed.), Emotions in Contemporary TV Series (pp. 52-70). Basingstoke: Palgrave Macmillan. https://doi.org/10.1007/978-1-137-56885-4_4
García Martínez, A. N. (2018a). La estética del asco. Lo repugnante en la serialidad contemporánea (The Aesthetics of Disgust. Revulsion in Contemporary TV-Series). In M. A. Huerta & P. Sangro (Eds.), La estética televisiva en las series contemporáneas (Television Aesthetics in Contemporary TV-Series) (pp. 86-101). Valencia: Tirant Lo Blanch.
García Martínez, A. N. (2018b). Relato fílmico frente a relato serial. Los casos de Fargo y Hannibal (Cinema narrative versus televisión narrative: Fargo and Hannibal as case studies). In A. N. García Martínez & M. J. Ortiz (Eds.), Cine y series: la promiscuidad infinita (Cinema and TV-Series: the endless promiscuity) (pp. 57-76). Sevilla: Comunicación Social.
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
Plantinga, C. (2018). Screen Stories: Emotion and the Ethics of Engagement. New York: Oxford University Press. https://doi.org/10.1093/oso/9780190867133.001.0001
Rose, L. & Guthrie, M. (2015, August 7). FX Chief John Landgraf on Content Bubble: ‘This Is Simply Too Much Television’. The Hollywood Reporter. Retrieved from https://www.hollywoodreporter.com
Sartwell, C. (2017). Beauty. In E. N. Zalta (Ed.), The Stanford Encyclopedia of Philosophy (Winter 2017 Edition). Retrieved from https://plato.stanford.edu/archives/win2017/entries/beauty/
Scahill, A. (2016). Serialized Killers: Prebooting Horror in Bates Motel and Hannibal. In A. A. Klein & B. R. Palmer (Eds.), Cycles, Sequels, Spin-Offs, Remakes, and Reboots: Multiplicities in film and television (pp. 316-334). Austin: University of Texas Press.
Smith, M. (1994). Altered states: character and emotional response in the cinema. Cinema Journal, 33(4), 34-56. https://doi.org/10.2307/1225898
Smith, M. (1999). Gangsters, Cannibals, Aesthetes, or Apparently Perverse Allegiances. In C. Plantinga & G. M. Smith (Eds.), Passionate Views: Film, Cognition and Emotion (pp. 217-238). Baltimore: Johns Hopkins University Press.
Smith, M. (2011). Just What is it That Makes Tony Soprano such an Appealing, Attractive Murderer? In W. E. Jones & S. Vice (Eds.), Ethics at the Cinema (pp. 66–90). Oxford: Oxford University Press. https://doi.org/10.1093/acprof:oso/9780195320398.003.0003
Stadler, J. (2017). The Empath and the Psychopath: Ethics, Imagination, and Intercorporeality in Bryan Fuller’s Hannibal. Film-Philosophy, 21(3), 410-427. https://doi.org/10.3366/film.2017.0058
Stauffer, G. B. (2003). Bach, the Mass in B Minor: The Great Catholic Mass. New Haven: Yale University Press.
Sutton, P. (2010). Prequel: the ‘Afterwardsness’ of the Sequel. In C. Jess-Cooke & C. Verevis (Eds.), Second Takes: Critical Approaches to the Film Sequel (pp. 139-151). Albany: State University of New York Press.
Turvey, M. (2019). ‘Familiarity Breeds Contempt’: Why Repeat Exposure Does Not Necessarily Turn TV Characters into Friends. In J. Riis & A. Taylor (Eds.), Screening Characters: Theories of Character in Film, Television, and Interactive Media (pp. 231-247). New York: Routledge. https://doi.org/10.4324/9780429422508
Vaage, M. B. (2014). Blinded by Familiarity: Partiality, Morality and Engagement in Television Series. In T. Nannicelli & P. Taberham (Eds.), Cognitive Media Theory (pp. 268–284). New York: Routledge.
Vaage, M. B. (2015). The Antihero in American Television. New York: Routledge. https://doi.org/10.4324/9781315715162
Vlaming, J. & Fuller, B. (Writers), & Hunter, T. (Director). (2014). Sakizuke (Television series episode). In B. Fuller & M. De Laurentiis (Executive Producers), Hannibal. New York: NBC.
Wagner, V., Menninghaus, W., Hanich, J., & Jacobsen, T. (2014). Art Schema Effects on Affective Experience: The case of disgusting images. Psychology of Aesthetics, Creativity, and the Arts, 8(2), 120-129. https://doi.org/10.1037/a0036126
Westfall, J. (Ed.). (2015). Hannibal Lecter and Philosophy: The Heart of the Matter (Vol. 96). Chicago: Open Court.
Yu Wu, K. & Fuller, B. (Writers), & Rymer, M. (Director). (2013). Entrée (Television series episode). In B. Fuller & M. De Laurentiis (Executive Producers), Hannibal. New York: NBC.
Zoller Seitz, M. (2014, February 6). Top Chef. New York Magazine. Retrieved from http://nymag.com

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