Moldaketa kanibalaibilbide narratibo hirukoitza Hannibal telesailaren eraikuntzan

  1. Azkunaga García, Leire
Journal:
Mediatika: cuadernos de medios de comunicación

ISSN: 1988-3935

Year of publication: 2022

Issue: 19

Pages: 41-58

Type: Article

DIALNET GOOGLE SCHOLAR lock_openOpen access editor

More publications in: Mediatika: cuadernos de medios de comunicación

Abstract

This research focuses its interest on the television series Hannibal (Fuller et al., 2013-2015) and, more specifically, on the intertextual or dialogical relations it establishes −and which alters continually− with the original narrative universe. Similar to the modus operandi of the cannibal, the fiction draws on the literary legacy of its creator Thomas Harris and the eponymous film adaptations with the aim to give a new meaning to them. The series directed by showrunner Bryan Fuller becomes a true cannibal adaptation, in that it extends, throughout its three seasons, Lecter's cannibalism and liminality to the narrative level. Thus, from its first seasons, the series is situated at an intermediate point, in an indeterminate space between prequel, adaptation and reinvention of the so-called Hannibalverse or Hannibal universe in which both the villainous protagonist and his disciple Will Graham are inscribed.

Bibliographic References

  • ABBOTT, S. (2018). Not Just Another Serial Killer Show: Hannibal, Complexity, and the Televisual Palimpsest. Quarterly Review of Film and Video, 35(6), 552-567. https://doi.org/10.1080/10509208.2018.1499348
  • AMERICAN FILM INSTITUTE (Ed.), (2003).AFI’s 100 years...100 heroes & villains. https://bit.ly/3hpx5EN
  • AUMONT, J.& MARIE, M. (1990). Análisis del film. Paidós, Barcelona
  • AZKUNAGA GARCÍA, L. (2021). Más allá de las fronteras: Identidades liminales en la ficción televisiva Hannibal, de Bryan Fuller. Signa, Revista de la Asociación Española de Semiótica, 30, 303-322. DOI: https://doi.org/10.5944/signa.vol30.2021.29312
  • BAINBRIDGE, J. (2018). Making a Meal of the Law: Hannibal, Taste and the Limits of Legality. Quarterly Review of Film and Video, 35(6), 601-613. https://doi.org/10.1080/10509208.2018.1499345
  • BAJTÍN, M. (1982). Estética de la creación verbal. Siglo XXI Editores, México
  • BALANZATEGUI, J., LATER, N. &LOMAX, T. (2019). Hannibal Lecter’s Monstruous Return. The Horror of Seriality in Bryan Fuller’s Hannibal. En MUDAN FINN, K. &NIELSEN, E. J. (Eds.), Becoming: Genre, Queerness, and Transformation in NBC’s Hannibal (pp.27-53). Syracuse University Press, New York
  • BROULLÓN LOZANO, M. A. (2015). La incertidumbre sobre el asesino. En HERMIDA, A. y HERNÁNDEZ SANTAOLLA, V. (Eds.), Asesinos en serie (s). Representación persuasiva del serial killer en la ficción televisiva contemporánea (pp.153-172).Síntesis, Madrid
  • CASCAJOSA, C. (2005). Prime Time: Las mejores series de TV americanas: de «CSI» a «Los Soprano». Calamar Ediciones, Madrid
  • CRISÓSTOMO, R. (2018). Los ecos del caníbal: homenajes estilísticos y pilares cinematográficos de Hannibal. En GARCÍA MARTÍNEZ, A. N. y ORTÍZ, M. J. (Ed.), Cine y serie (pp. 139-154).Comunicación Social, Salamanca
  • GARCÍA MARTÍNEZ, A. N. (2018). Relato fílmico a relato serial: los casos de Fargo y Hannibal. En GARCÍA MARTÍNEZ, A. N. y ORTÍZ, M. J. (Ed.), Cine y serie. (pp. 57-75). Comunicación Social, Salamanca
  • GARRETT, G. (1994). Objecting to Objectification: Re‐Viewing the Feminine in The Silence of the Lambs. The Journal of Popular Culture, 27(4), 1-12. https://doi.org/10.1111/j.0022-3840.1994.2704_1.x
  • GENETTE, G. (1989). Palimpsestos. La literatura en segundo grado. Taurus, Madrid.
  • GÓMEZ TARÍN, F. J. (2006). El análisis del texto fílmico.Beira Interior, Castellón https://bit.ly/2RNdzau
  • HARRIS, T. (1993). El Silencio de los corderos. RBA Editores, Barcelona
  • HARRIS, T. (1981). El Dragón Rojo. Penguin Random House Grupo Editorial, Barcelona
  • HARRIS, T. (1999). Hannibal. Grijalbo Mondadori, S.A, Barcelona
  • HARRIS, T (2007). Hannibal: el origen del mal. Random House Mondadori, Barcelona
  • HASSERT, D. L. (2016). The Psychiatrist as Sociopathic God. En WESTFALL, J. (Ed.), Hannibal Lecter and Philosophy: The Heart of the Matter (Vol. 96). (pp 71-82). Open Court, Chicago
  • KLOCK, G. (2017). Aestheticism, Evil, Homosexuality, and Hannibal: If Oscar Wilde Ate People. Lexington Books
  • KRISTEVA, J. (1997). Intertextualité: Francia en el origen de un término y el desarrollo de un concepto (Vol. 2). UNEAC, La Habana
  • LEE, F.&LASSWELL, J. (2005). A dazzle of dragonflies. Texas A&M University Press
  • LEWERENZ, E. (2019). Adapt. Evolve. Become: Queering Red Dragon in Bryan Fuller’s Hannibal. En MUDAN FINN, K., & NIELSEN, E. J. (Eds.), Becoming: Genre, Queerness, and Transformation in NBC’s Hannibal (pp.54-73).Syracuse University Press, New York
  • MARZABAL, I., y AROCENA, C. (2016). Películas para la educación: aprender viendo cine, aprender a ver cine. Cátedra, Madrid
  • REGO, B. (20 de julio de 2015). Hannibal, Aphex Twin y el cine pretencioso de los 80 Mediateletiposhttps://bit.ly/3bN5cn1
  • RIEGER, G.A. (2019). “Whispering through the Crysalis”. Hannibal Lecter and the Poetics of Mentorship. En MUDAN FINN, K., &NIELSEN, E. J. (Eds.), Becoming: Genre, Queerness, and Transformation in NBC’s Hannibal (pp.96-123).Syracuse University Press, New York
  • SCAHILL, A. (2016). Serialized Killers: Prebooting Horror in Bates Motel. En KLEIN, A. A., & PALMER, R. B. (Eds.), Cycles, Sequels, Spin-offs, Remakes, and Reboots: Multiplicities in Film and Television. (pp. 316-334) University of Texas Press
  • SIMPSON, P. (2009). Making Murder: The Fiction of Thomas Harris: The Fiction of Thomas Harris. ABC-CLIO, California
  • ZUNZUNEGUI, S. (1994).Paisajes de la forma. Ediciones Cátedra, Madrid
Data source: Dialnet