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• W341775750 abstract "William Faulkner's Sanctuary, a novel obsessed with vision and dominated by the voyeuristic gaze, is structured by an absence at its center. The novel's most notorious incident, Popeye's rape of Temple Drake with a corncob, is never presented to the reader directly. This absence of description paradoxically causes the event to loom even larger in the reader's consciousness. Provoked by the missing words, the reader is spurred into imagining the scene, and in the process is forced to recognize his/her complicity in such voyeurism. Faulkner clearly realized what lack of money has often forced impoverished filmmakers to accept grudgingly: that representations of violence derive their power from what is absent as well as from what is present. In this essay, I would like to demonstrate this point by discussing another text structured by an absence: Ridley Scott's 2001 film adaptation of Thomas Harris's 1999 novel, Hannibal. In particular, I want to argue that the ways in which this film represents both violence and the motivations for violence make the filmic Hannibal, in this sense at least, superior to its source material.1 Any film adaptation, by its very nature, has to make complicated decisions about how it should treat its source material. But when the film in question is an adaptation of an eagerly awaited novel, featuring a character who has captured the imagination of modern readers and moviegoers like few others, those decisions are especially complicated. Not surprisingly, the fate of Ridley Scott's adaptation of Hannibal rested upon its treatment of its eponymous protagonist, Hannibal Lecter. Whatever Scott may have said about not being unduly influenced by Thomas Harris's vision of Lecter, Harris's development of his most famous character was unavoidably part of the challenge facing Scott. When Lecter first appears in Harris's fiction in 1981's Red Dragon, he plays a comparatively minor role, but the little direct commentary about him there is emphasizes how he troubles classificatory systems. For example, at one point Will Graham, the FBI agent who caught Lecter, comments: [Psychologists] say he's a sociopath, because they don't know what else to call him. He has some of the characteristics of what they call a sociopath. He has no remorse or guilt at all. And he had the first and worst sign-sadism to animals as a child [...] But he doesn't have any of the other marks [...] He wasn't a drifter, he had no history of trouble with the law. He wasn't shallow and exploitive in small things, like most sociopaths are. not insensitive. They don't know what to call him. (53-54) Because the source and precise character of Lecter's pathology remain a mystery to the science of psychology, Graham is forced to resort to an older, unscientific terminology to describe Lecter: He's a monster. I think of him as one of those pitiful things that are born in hospitals from time to time. They feed it, and keep it warm, but they don't put it on the machines and it dies. Lecter is the same way in his head, but he looks normal and nobody could tell (54). To call Lecter a monster is just as inadequate as calling him a sociopath or psychopath because none of these terms fully explain the origins and characteristics of Lecter's psychological make-up. With this said, however, we will see that the superiority of the film version of Hannibal to its source material lies precisely in its insistence on Lecter's monstrosity. In Harris's next novel, The Silence of the Lambs (1988), Lecter plays a more prominent role, but he is still presented as a source of mystery and the plague of classificatory systems. If, in Red Dragon, Lecter's impenetrability implied a criticism of the ability of psychology to be a discourse of truth, that criticism is developed more explicitly in The Silence of the Lambs. One form that criticism takes is Dr. Chilton, the director of the asylum where Lecter is imprisoned at the beginning of the novel. …" @default.
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• W341775750 date "2007-01-01" @default.
• W341775750 modified "2023-09-23" @default.
• W341775750 title "The Kindest Cut of All: Adapting Thomas Harris's Hannibal" @default.
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