DHMIS Critical Approaches: Carnival and the Grotesque Body
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This is the second installment in my Critical Approaches series, in which I’ve set out to analyze the surreal and enigmatic web series, Don’t Hug Me I’m Scared. My goal with this series is to demonstrate how certain critical approaches can be applied to a work, and hopefully show what can be gained from this sort of activity. In my first video, I went over the basics of formalism. I also took a look at the very first episode of Don’t Hug Me I’m Scared; I performed a “close reading,” of sorts, basically a shot-by-shot analysis of the material. My aim was to demonstrate how paying extremely close attention to a work like Don’t Hug Me I’m Scared can produce unique, meaningful, and perhaps even counterintuitive observations.
In this installment, I’ll be continuing my critical analysis of Don’t Hug Me I’m Scared. This time around, I’ll be applying the literary theories of a certain notable thinker in order to unpack the work. Mikhail Bakhtin was a 20th century Russian philosopher, semiotician, and literary critic; he was one of the more lucid and innovative writers of his time. He was writing in an era of unprecedented historical change, the shadow of the Russian revolution, and the onslaught of WWII.
References and Additional Reading/Viewing
Rabelais and His World
https://monoskop.org/images/7/70/Bakhtin_Mikhail_Rabelais_and_His_World_1984.pdf
The Grotesque Body
https://www.youtube.com/watch?v=_u5gyc55x0o
The Social Permeability of the Text
https://youtu.be/YtK18ImMkp8
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