Negdje mora puknuti

Književno prevođenj

Pygmy

Dari penulis buku legendaris Fight Club, Chuck Palahniuk. Chuck merupakan penulis yang pandai sekali memainkan imajinasi pembaca dengan alur dark comedy. Novel ini merupakan satir atas sifat totalitarian negara Amerika Serikat.241 hal.; 20 c

Pygmy

Dari penulis buku legendaris Fight Club, Chuck Palahniuk. Chuck merupakan penulis yang pandai sekali memainkan imajinasi pembaca dengan alur dark comedy. Novel ini merupakan satir atas sifat totalitarian negara Amerika Serikat.241 hal.; 20 c

Pygmy

Dari penulis buku legendaris Fight Club, Chuck Palahniuk. Chuck merupakan penulis yang pandai sekali memainkan imajinasi pembaca dengan alur dark comedy. Novel ini merupakan satir atas sifat totalitarian negara Amerika Serikat.241 hal.; 20 c

Chuck Palahniuk: Negdje mora puknuti / S engleskog prevela Valentina Lisak

Iza zaključanih vrata zahoda u stražnjem dijelu antikvarnice Claire Upton razgovara na telefon. Glas joj odjekuje od poda i zidova: Koliko je teško provaliti nadzornu kameru? Ukrasti snimku? upita svog muža i počne plakati.U zadnjih tjedan dana bila je u tom dućanu već tri ili četiri puta. Jedan od onih gdje moraš ostaviti torbu na blagajni, inače te ne puste unutra. Moraš ostaviti i kaput, ako ima duboke, prostrane džepove. I kišobran, jer bi ljudi u nabore mogli ubacivati sitne predmete, češljeve, nakit i druge drangulije. Kraj starog blagajnika stoji sivi karton na kojem crnim markerom piše: “Ne volimo kad nas kradete!”Skidajući kaput, Claire reče: “Ja nisam lopov.”Stari blagajnik pogledom ju je odmjerio od glave do pete. Coknuo je jezikom i pitao: “Po čemu ste vi iznimka?”Za svaki ostavljeni predmet dao je Claire polovicu karte. Za torbicu hercova asa. Za kaput trefovu devetku. Za kišobran pikovu trojku.Pogledom je prešao preko Claireinih ruku, obrisa džepova na prsima i najlonki tražeći izbočine, nešto ukradeno. Iza prednjeg pulta po cijeloj su trgovini visjeli mali natpisi koji su upozoravali da je ovdje zabranjeno krasti. Kamere su nadzirale svaki prolaz, svaki kutak i sve prikazivale na malenom ekranu punom drugih ekrana. Trezor malih, crno-bijelih tv-ekrana iza blagajne gdje je sjedio starac i sve ih promatrao

Integration and Rebirth through Confrontation: Fight Club and American Beauty as Contemporary Religious Parables

In this article, I discuss the religious significance of two recent American films which raise pertinent questions about the nature and quality of human existence, its anxieties and aspirations, at the turn of the millennium. Both David Fincher's Fight Club and Sam Mendes' American Beauty wrestle with the efficacy of confrontation as a means of attaining redemption from the disconnectedness and estrangement that characterises the lives of the protagonists in each of these pictures. The import that the trajectories of these characters have for the film audience will also be examined, insofar as these films are accredited by some viewers with helping to facilitate a remedy to the malaise and disaffection in their lives that these protagonists exemplify

Deterritorialisation and Schizoanalysis in David Fincher's Fight Club

Taking a schizoanalytic approach to audio-visual images, this article explores some of the radical potentia for deterritorialisation found within David Fincher's Fight Club (1999). The film's potential for deterritorialisation is initially located in an exploration of the film's form and content, which appear designed to interrogate and transcend a series of false binaries between mind and body, inside and outside, male and female. Paying attention to the construction of photorealistic digital spaces and composited images, we examine the actual (and possible) ways viewers relate to the film, both during and after screenings. Recognising the film as an affective force performing within our world, we also investigate some of the real-world effects the film catalysed. Finally, we propose that schizoanalysis, when applied to a Hollywood film, suggests that Deleuze underestimated the deterritorialising potential of contemporary, special effects-driven cinema. If schizoanalysis has thus been reterritorialised by mainstream products, we argue that new, ‘post-Deleuzian’ lines of flight are required to disrupt this ‘de-re-territorialisation’