Its only cannibalism if we’re equals”: Consuming the lesser in hannibal

Research output: Contributions to collected editions/worksChapterpeer-review

Standard

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/worksChapterpeer-review

Harvard

Dellwing, M 2018, Its only cannibalism if we’re equals”: Consuming the lesser in hannibal. in J Dürrschmidt & Y Kautt (eds), Globalized Eating Cultures: Mediation and Mediatization. Palgrave Macmillan, pp. 289-307. https://doi.org/10.1007/978-3-319-93656-7_14

APA

Dellwing, M. (2018). Its only cannibalism if we’re equals”: Consuming the lesser in hannibal. In J. Dürrschmidt, & Y. Kautt (Eds.), Globalized Eating Cultures: Mediation and Mediatization (pp. 289-307). Palgrave Macmillan. https://doi.org/10.1007/978-3-319-93656-7_14

Vancouver

Dellwing M. Its only cannibalism if we’re equals”: Consuming the lesser in hannibal. In Dürrschmidt J, Kautt Y, editors, Globalized Eating Cultures: Mediation and Mediatization. Palgrave Macmillan. 2018. p. 289-307 doi: 10.1007/978-3-319-93656-7_14

Bibtex

@inbook{b8e9e19fca55414c9c90e6f2ce1921fd,
title = "Its only cannibalism if we{\textquoteright}re equals”: Consuming the lesser in hannibal",
abstract = "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.",
keywords = "Transdisciplinary studies, audience, television, tastes, dead, body",
author = "Michael Dellwing",
year = "2018",
month = jan,
day = "1",
doi = "10.1007/978-3-319-93656-7_14",
language = "English",
isbn = "978-3-319-93655-0",
pages = "289--307",
editor = "J{\"o}rg D{\"u}rrschmidt and { Kautt}, York",
booktitle = "Globalized Eating Cultures",
publisher = "Palgrave Macmillan",
address = "Switzerland",

}

RIS

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T2 - Consuming the lesser in hannibal

AU - Dellwing, Michael

PY - 2018/1/1

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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.

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KW - audience

KW - television

KW - tastes

KW - dead

KW - body

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