Joker y Oxygène, el miedo distópico como motor conservador
Dystopian artistic and cultural productions are closely related to the context in which they are created and read, since the universe they contain is built on the hyperbole of elements of the society where they arise and seek to be a warning to the recipients who receive them. From this perspective,...
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| Format: | article |
| Publication Date: | 2022 |
| Country: | España |
| Institution: | Universidad Autónoma de Madrid |
| Repository: | Biblos-e Archivo. Repositorio Institucional de la UAM |
| Language: | Spanish |
| OAI Identifier: | oai:repositorio.uam.es:10486/716999 |
| Online Access: | http://hdl.handle.net/10486/716999 |
| Access Level: | Open access |
| Keyword: | Joker Oxygène distopía pandemia utopía Filología |
| Summary: | Dystopian artistic and cultural productions are closely related to the context in which they are created and read, since the universe they contain is built on the hyperbole of elements of the society where they arise and seek to be a warning to the recipients who receive them. From this perspective, we will analyze two film productions from our time of neoliberal capitalism, Joker (2019) by Todd Philips and Oxygène (2021) by Alexandre Aja, made before and after the outbreak of the COVID pandemic. We will focus in our study on the ideological mechanisms and utopian elements according to Fredric Jameson's conception that cause a conservative impulse |
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