Its only cannibalism if we’re equals”: Consuming the lesser in hannibal
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Its only cannibalism if we’re equals” : Consuming the lesser in hannibal. / Dellwing, Michael.
Globalized Eating Cultures: Mediation and Mediatization. ed. / Jörg Dürrschmidt; York Kautt. Palgrave Macmillan, 2018. p. 289-307.Research output: Contributions to collected editions/works › Chapter › peer-review
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TY - CHAP
T1 - Its only cannibalism if we’re equals”
T2 - Consuming the lesser in hannibal
AU - Dellwing, Michael
PY - 2018/1/1
Y1 - 2018/1/1
N2 - The title character of the television show Hannibal, a psychiatrist and a cannibalistic serial killer, uses the bodies of his victims to create art installations, both as sculptures and as food. The show uses a sophisticated, high-society protagonist to juxtapose murder and art. It does so by playing with the audiences in front of which status is enacted: while crime is presented diegetically, the art is not, that is, the audience is witness to the art and the murder, while the other characters see only the murder; this happens within a frame in which, of course, the show itself as art is also (almost necessarily) a non-diegetic presentation, aimed only at us. Thus, the show manages to play with the status ascriptions around murder and art and thus shows how the front-stage talk about murder is contradicted continuously by the reception of the show: by emphasizing a putative opposition between status markers in the interplay between critical attention and production commentary, it shows a near-complete convergence of these status markers in its non-verbalized production imagery. This allows wider insights in how status is communicated in open and veiled manners.
AB - The title character of the television show Hannibal, a psychiatrist and a cannibalistic serial killer, uses the bodies of his victims to create art installations, both as sculptures and as food. The show uses a sophisticated, high-society protagonist to juxtapose murder and art. It does so by playing with the audiences in front of which status is enacted: while crime is presented diegetically, the art is not, that is, the audience is witness to the art and the murder, while the other characters see only the murder; this happens within a frame in which, of course, the show itself as art is also (almost necessarily) a non-diegetic presentation, aimed only at us. Thus, the show manages to play with the status ascriptions around murder and art and thus shows how the front-stage talk about murder is contradicted continuously by the reception of the show: by emphasizing a putative opposition between status markers in the interplay between critical attention and production commentary, it shows a near-complete convergence of these status markers in its non-verbalized production imagery. This allows wider insights in how status is communicated in open and veiled manners.
KW - Transdisciplinary studies
KW - audience
KW - television
KW - tastes
KW - dead
KW - body
UR - http://www.scopus.com/inward/record.url?scp=85063423311&partnerID=8YFLogxK
U2 - 10.1007/978-3-319-93656-7_14
DO - 10.1007/978-3-319-93656-7_14
M3 - Chapter
AN - SCOPUS:85063423311
SN - 978-3-319-93655-0
SN - 978-3-030-06700-7
SP - 289
EP - 307
BT - Globalized Eating Cultures
A2 - Dürrschmidt, Jörg
A2 - Kautt, York
PB - Palgrave Macmillan
ER -