Melancholy and Darkness. Dilemmas of Subjectivity in the Dark series
Dark is a German TV series that, despite its obsession with time travel and the end of time, portrays melancholy as its predominant emotional experience. To account for this, the article recovers some arguments from Julia Kristeva’s semiology: a theoretical conception that historicizes the meaning o...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Filosofía y Humanidades. Escuela de Letras
2023
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/heterotopias/article/view/43630 |
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| Sumario: | Dark is a German TV series that, despite its obsession with time travel and the end of time, portrays melancholy as its predominant emotional experience. To account for this, the article recovers some arguments from Julia Kristeva’s semiology: a theoretical conception that historicizes the meaning of affects as a modality of significance that constitutes subjectivity. In Kristeva’s terms, melancholy deploys an affective semiotics that is linked to fragility of love, finding its resonances in corporality, but also in a decentred temporality that would respond to the depressive economy of postmodern culture. Netflix fiction inventively presents this melancholic pathos, not only capturing epochal breaks related to subjectivity and its way of inhabiting time, but also proposing such affect as an dark tonality that flows throughout its visuality, more specifically through those procedures of representation linked to chromaticism, temperatures and aesthetic composition. From this reading, the article seeks to demonstrate how Dark manages to make melancholy a matter of content, but also of form.
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