Hiperrealismo y barbarie en el noir distópico de J. G. Ballard
This article examines the literary crime production of James Graham Ballard (1930-2009) after The Empire of the Sun, which sought to capture the readers who had known him through it and Spielbergs film adaptation. To this end, each of the British writer’s five noirs in which he hybridizes the noir g...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2025 |
| País: | España |
| Institución: | Universidad de Castilla-La Mancha |
| Repositorio: | RUIdeRA. Repositorio Institucional de la UCLM |
| OAI Identifier: | oai:ruidera.uclm.es:10578/40858 |
| Acceso en línea: | https://revistas.unal.edu.co/index.php/lthc/article/view/116800 https://hdl.handle.net/10578/40858 |
| Access Level: | acceso abierto |
| Palabra clave: | Hiperrealismo James Graham Ballard |
| Sumario: | This article examines the literary crime production of James Graham Ballard (1930-2009) after The Empire of the Sun, which sought to capture the readers who had known him through it and Spielbergs film adaptation. To this end, each of the British writer’s five noirs in which he hybridizes the noir genre and interior fiction are analyzed. Although critics consider them to be minor works, Ballards noirs are related to the rest of his stories and books through their themes, settings and characters. This article considers and highlights these novels that function as apocalyptic admonitions about the intrinsic paradoxes of the new spaces of surveillance capitalism, ecosystems of privilege and technological hyper-development, in which the annihilation of the imagination implodes through uncontrolled violence. |
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