| Popis: |
This article approaches Martin McDonagh’s Three Billboards Outside Ebbing, Missouri (2017) as an emotional hybrid, of which the aesthetic strategies convey and embody three inextricably intertwined affects: anger, grief, and dark humour. It argues that the emotions of the protagonists are all consuming, because these are entangled in such a way that it enlarges their personal traumas and prevents them from work ing through their grief and anger. It analyses anger, grief, and dark humour in the film to demonstrate that these affects are not separate, but intertwined throughout the narrative trajectory of the film in an aesthetically coherent and concise manner.The article hopes to show that this hybrid affective quality does not function as a marker of tension between different emotions. Rather, it facilitates dynamic fluctuation between these emotions, thus opening up avenues for different courses of action by the characters, which in turn are affectively recognised by the spectator. In this way the hybrid emotions function as an organising principle of the film’s aesthetic structure organically from within, rather than as elements attached to the film externally.This operational logic makes Three Billboards a remarkable film in its affective-aesthetic orientation, both towards its own world and towards its spectator. |
