The forms of materiality: frame, scale and affect in Ramsay’s cinema
DOI:
https://doi.org/10.11606/issn.2316-7114.sig.2018.137394Keywords:
Lynne Ramsay, materiality, affectAbstract
This article examines the relationship between narratives of minimum causality and the construction of spaces and framing of bodies and landscapes in Lynne Ramsay’s first two feature-length films, Ratcatcher (1999) and Morvern Callar (2002). It analyzes how the films portray the effects of trauma with aesthetic strategies that prioritizes the unconventional use of scale and movement. Hence, the analysis suggests that Ramsay’s aesthetic choices in depicting minimalist narratives create affective landscapes from the sensorial and embodied experience of the films. It contends that these films favor an aesthetic dimension of everyday details and intimacy, thus allowing the materialization of affect and revealing its poetic and politic force.
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Referências audiovisuais
MORVERN Callar. Lynne Ramsay, Reino Unido; Canadá, 2002.
RATCATCHER. Lynne Ramsay, Reino Unido; França, 1999.
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