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首页> 外文期刊>Exchanges: The Warwick Research Journal >Consumption from the Avant-Garde to the Silver Screen
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Consumption from the Avant-Garde to the Silver Screen

机译：从前卫到银屏的消费

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In Oswald de Andrade’s ‘Manifesto Antropófago’ of 1928, he explicitly callsfor Brazilian and Latin American artists to resist the vestiges of colonialcultural politics by appropriating the cannibal trope and unabashedlyplundering and consuming the European cultural tradition to radicallyrewrite cultural discourse. While Andrade’s Manifesto has been used as acritical lens to examine the Latin American avant-gardes, as well as othermodes of post-colonial cultural production, it has not been as widely usedas a theoretical apparatus for examining the question of commodityproduction and consumption. In this paper, I revisit the Manifesto byfocusing on its critical dialogue with Marx’s concept of the fetish of thecommodity. Linking this fetish with Apparadurai’s recent thinking on thefetishism of the consumer, I trace how cannibalism can be reworked as amode of ‘profanation,’ to use Agamben’s terms, of the power apparatusesof consumption itself. Then I test the concept of the profanation ofconsumption with two film case studies - Nelson Perreira dos Santos’ Comoera gostoso o meu francês (dos Santos,1971) and Ruggero Deodato’sCannibal Holocausto (Deodato, 1980). My readings situate these films intheir cultural and political contexts and read them as texts which profanethe apparatuses of the construction of historical and spectacular imagesfor global consumption.
机译：在1928年的奥斯瓦尔德·德安德拉德的“宣言安特罗普扬”，他明确地呼吁巴西和拉丁美洲艺术家通过挪用食指牵引和未被释放的欧洲文化传统来抵抗殖民范学政治的遗迹，以促进欧洲文化传统。虽然Andrade的宣言已被用作禁止射击镜头来检查拉丁美洲的前卫，以及殖民文化制作的其他材料，但它并未广泛使用用于检查商品生产和消费问题的理论仪器。在这篇论文中，我通过Marx的恋物癖的恋物癖的概念重新审视了宣言的批判性对话。将这一迷信与Apparadurai最近对消费者的行为的思考相连，我追踪了Consibalism如何作为“亵渎”的Amode，以使用Agamben的术语，该产品本身的电力设备。然后我测试了两个电影案例研究的概念，两部电影案例研究 - 纳尔逊佩雷拉Dos桑托斯的Comoera Gostoso O MeuFrancês（Dos Santos，1971）和Ruggero Deodato'Scannibal HolocaptoO（Deodato，1980）。我的读物与这些电影的Intheir文化和政治背景相提并论，并将其视为文本，该文本是为全球消费的历史和壮观的象征建造的策略。

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