Cutting and Running from the (Medieval) Middle East: The Mises-hors-scène of Kingdom of Heaven’s Double DVDs
Ridley Scott’s Kingdom of Heaven (2005) certainly invites a reading along the lines of historicist cultural criticism. The final intertitle (and final shot of the film) refers to an “uneasy truce,” which implicitly extended to the film and its more critical reviewers. Despite statements to the contr...
Enregistré dans:
| Dans: | URI:https://journals.openedition.org/babel, |
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| Auteur principal: | |
| Format: | Article ou chapitre numérique |
| Langue: | Anglais |
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Babel
2013
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| Accès en ligne: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Résumé: | Ridley Scott’s Kingdom of Heaven (2005) certainly invites a reading along the lines of historicist cultural criticism. The final intertitle (and final shot of the film) refers to an “uneasy truce,” which implicitly extended to the film and its more critical reviewers. Despite statements to the contrary, Bush has been widely viewed as advancing U.S. imperialism in more naked form. A number of reviewers and Scott himself have connected the dots between Bush’s reference to a “crusade” against terrorism just after 9/11 and Scott’s film. But understanding the film and its paratexts as relayed between two uncannily double DVDs means that historicism and film and media theory in its cultural studies version cannot escape the trauma which the film and the historicist film critic want to make symbolic and narratable. The film’s uncanny epitexts and delayed delivery, potentially accelerating the speed of reviewing, and collapsing old and new, mechanical and human, oscillate without a telos between cinematic (re)inscriptions and their framing ex-scriptions. |
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