Abstract
The actual thrust of a conflict movie such as Steve McQueen’s Hunger (IE, GB, 2008) is not a political narrative or counter-narrative, but the structural tension in a series of intense, harsh and aggressive sounds followed by silence. In Hunger we see a process of emancipation of indicial (visual and audio) elements in relation to their narrative function. The process is a deconstruction—an outbreak against the conceptual unity of the movie, which enables the emergence of fragmentary, non-subjective ontological issues that are fundamental to aesthetic experience beyond its merely psychological and social dimensions. The essay starts with a theoretical discussion relying on authors such as Gilles Deleuze, Andre Bazin and Michel Chion, and shows the relevance of this deconstructive ontological perspective to cinema studies.
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