Visions of Europe in Fatih Akin’s The Evil Old Songs : Divided Past, Transnational Future?
Visions of Europe in Fatih Akin’s The Evil Old Songs : Divided Past, Transnational Future?
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法提赫·阿金的《邪恶老歌》中的欧洲愿景：分裂的过去，跨国的未来？
DOI：
10.1007/978-3-319-39152-6_7
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发表时间：
2017
期刊：
影响因子：
--
通讯作者：
Eva-Maria
中科院分区：
文献类型：
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作者：
Esseling;Eva-Maria
埃塞林考察了法提赫·阿金对拉斯·冯·提尔的综合电影项目《欧洲的愿景》的贡献，该项目受欧盟委托，以纪念2004年欧盟的扩张。这一章分析了电影是如何将海因里希·海涅的诗歌《邪恶的老歌》与折衷的音乐曲目交织在一起的——从德国的军事歌曲、前卫的工业音乐，到流行的土耳其和德国的电影配乐——将最初似乎是德国特有的记忆景观扩展到跨国的、欧洲的水平。虽然这部电影唤起了人们对战争和极权主义的集体记忆，但阿金的视野并不局限于这种以过去为导向的视角：它最终呼吁克服导致20世纪灾难的民族主义、种族主义和仇外态度，以培育一个跨国的、和平的欧洲共同体。最后，本章考虑了电影对艺术和艺术家在跨国视角创造中的突出作用的关注，这是欧洲集体记忆过程所必需的。
Esseling examines Fatih Akin’s contribution to Lars von Trier’s omnibus film projectVisions of Europe, commissioned by the European Union to mark the occasion of EU expansion in 2004. The chapter analyzes how the film interweaves Heinrich Heine’s poemThe Evil Old Songswith an eclectic musical repertoire—ranging from German military songs, avant-garde industrial music, and popular Turkish and German film scores—to expand what initially may appear to be a specifically German memoryscape to a transnational, European level. While the film evokes collective memories of war and totalitarianism, Akin’s vision is not limited to this past-oriented perspective: it ultimately makes a plea for overcoming the nationalist, racist, and xenophobic attitudes that led to the catastrophes of the twentieth century in order to foster a transnational, peaceful European community. Finally, the chapter considers the film’s focus on the prominent role of art and artists in the creation of the transnational perspectives that are necessary for a collective European memory process.