{"id":79080,"date":"2026-09-22T07:22:40","date_gmt":"2026-09-22T05:22:40","guid":{"rendered":"https:\/\/a-desk.org\/?p=79080"},"modified":"2026-09-20T01:50:02","modified_gmt":"2026-09-19T23:50:02","slug":"flaming-ears","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/flaming-ears\/","title":{"rendered":"Flaming Ears"},"content":{"rendered":"<p class=\"isSelectedEnd\">1.<br \/>\nEn aquells vertiginosos darrers anys vuitanta i primers noranta del segle passat \u2014la fi de la hist\u00f2ria, per a alguns\u2014, mentre queia el Mur de Berl\u00edn, la Uni\u00f3 Sovi\u00e8tica es dissolia i l\u2019eix Thatcher-Reagan feia estralls a banda i banda de l\u2019Atl\u00e0ntic, naixia alguna cosa queer i canalla. La cr\u00edtica i te\u00f2rica del cinema B. Ruby Rich va batejar all\u00f2 que comen\u00e7ava a emergir com a New Queer Cinema, donant nom a una constel\u00b7laci\u00f3 de pel\u00b7l\u00edcules, majorit\u00e0riament, tot i que no exclusivament, nord-americanes i brit\u00e0niques, que orbitaven al voltant del desig no normatiu i les sensibilitats que l\u2019acompanyaven<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_79080_1('footnote_plugin_reference_79080_1_1');\" onkeypress=\"footnote_moveToReference_79080_1('footnote_plugin_reference_79080_1_1');\" ><sup id=\"footnote_plugin_tooltip_79080_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_79080_1_1\" class=\"footnote_tooltip\">B. Ruby Rich, \u00abNew Queer Cinema\u00bb, <em>Sight &amp; Sound<\/em>, vol. 2, n\u00fam. 5, setembre de 1992, pp. 30\u201334; reimpr\u00e8s a <em>New Queer Cinema: The Director\u2019s Cut<\/em> (Duke University Press, 2013).<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_79080_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_79080_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.<\/p>\n<p class=\"isSelectedEnd\">2.<br \/>\nA Viena, Ursula P\u00fcrrer, A. Hans Scheirl i Dietmar Schipek, un trio de cineastes insurrectes, imaginaven el futur. En el seu llargmetratge <em>Rote Ohren fetzen durch Asche<\/em> (estrenat en angl\u00e8s com <em>Flaming Ears<\/em>) (1991\/1992), ens llancen al caos de l\u2019any 2700, a la ciutat d\u2019Asche, una metr\u00f2polis dist\u00f2pica redu\u00efda a cendres. Constru\u00efda al llarg de dos anys i poblada per un elenc heterogeni d\u2019amistats, antigues amants i companyes de viatge, la ciutat imaginada i els seus habitants es fonen en una quimera tan estranya com seductora<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_79080_1('footnote_plugin_reference_79080_1_2');\" onkeypress=\"footnote_moveToReference_79080_1('footnote_plugin_reference_79080_1_2');\" ><sup id=\"footnote_plugin_tooltip_79080_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_79080_1_2\" class=\"footnote_tooltip\">Remake. Frankfurter Frauen Film Tage, \u00ab<em>Rote Ohren fetzen durch Asche \/ Flaming Ears<\/em>\u00bb, programa de restauraci\u00f3, 2019.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_79080_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_79080_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.<\/p>\n<p class=\"isSelectedEnd\">3.<br \/>\nSegons explica la hist\u00f2ria, P\u00fcrrer va con\u00e8ixer Scheirl a Viena a mitjans dels anys vuitanta i d\u2019aqu\u00ed va sorgir un <em>m\u00e9nage \u00e0 trois<\/em> entre totes dues i una c\u00e0mera Super 8. La parella es refereix als curtmetratges d\u2019aquella \u00e8poca, rodats majorit\u00e0riament a l\u2019apartament de P\u00fcrrer, com a \u00abpel\u00b7l\u00edcules casolanes de punk l\u00e8sbic\u00bb<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_79080_1('footnote_plugin_reference_79080_1_3');\" onkeypress=\"footnote_moveToReference_79080_1('footnote_plugin_reference_79080_1_3');\" ><sup id=\"footnote_plugin_tooltip_79080_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_79080_1_3\" class=\"footnote_tooltip\">\u00ab<em>Flaming Ears<\/em> (1992)\u00bb, <em>366 Weird Movies<\/em>; vegeu tamb\u00e9 Sixpackfilm, filmografia d\u2019Ursula P\u00fcrrer.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_79080_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_79080_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. \u00c9s evident que aquells primers experiments dom\u00e8stics van establir les bases de les configuracions queer que vertebren <em>Flaming Ears<\/em>, una instant\u00e0nia distorsionada de l\u2019escena l\u00e8sbica vienesa, \u00e9s a dir, una camarilla underground d\u2019artistes, m\u00fasics i tota mena d\u2019inadaptats.<\/p>\n<p class=\"isSelectedEnd\">4.<br \/>\nLa pel\u00b7l\u00edcula es va estrenar en angl\u00e8s amb el t\u00edtol <em>Flaming Ears<\/em> (<em>Orejas en llamas<\/em>). El trio va optar per una f\u00f3rmula m\u00e9s concisa i contundent que la que hauria ofert la traducci\u00f3 literal de l\u2019alemany, una cosa aix\u00ed com <em>Les orelles vermelles s\u2019obren pas entre les cendres<\/em>. Per no parlar de l\u2019atractiu afegit d\u2019invocar <em>Flaming Creatures<\/em> (1963), el cl\u00e0ssic de culte del Downtown novaiorqu\u00e8s de Jack Smith, de baix pressupost i inclassificable. I, com aquella pel\u00b7l\u00edcula anterior el t\u00edtol de la qual reverbera en el seu, <em>Flaming Ears<\/em> sent predilecci\u00f3 per all\u00f2 estrafolari i pervers, cosa que podia irritar el p\u00fablic, inclosos els qui abandonaven les projeccions indignats o qualificaven la pel\u00b7l\u00edcula de \u00abrepugnant\u00bb<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_79080_1('footnote_plugin_reference_79080_1_4');\" onkeypress=\"footnote_moveToReference_79080_1('footnote_plugin_reference_79080_1_4');\" ><sup id=\"footnote_plugin_tooltip_79080_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_79080_1_4\" class=\"footnote_tooltip\">Holly Willis, \u00abReckless, Greedy and Dangerous: Angela Scheirl Talks About <em>Flaming Ears<\/em>\u00bb, <em>Filmmaker Magazine<\/em>, hivern de 1993.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_79080_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_79080_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.<\/p>\n<p class=\"isSelectedEnd\">5.<br \/>\nEn els meus molts i malaguanyats intents d\u2019escriure sobre aquesta ind\u00f2mita pe\u00e7a de la hist\u00f2ria del cinema, tornava una vegada i una altra al circ com a arquetip o forma, i a aquest grup de conspiradors com una mena de companyia itinerant de marginats i \u00e9ssers estranys. \u00c9s una analogia curiosa, per\u00f2 pertinent: una <em>troupe<\/em> que porta el seu m\u00f3n al damunt, tant el vestuari, l\u2019atrezzo i els decorats com els cossos necessaris per donar-los vida. <em>Flaming Ears<\/em> es va fer amb aquest esperit i amb aquests mitjans: P\u00fcrrer, Scheirl i Schipek van compartir les tasques de producci\u00f3, es van anar passant la c\u00e0mera, van escriure el gui\u00f3 i van fer en gran part el vestuari, la m\u00fasica, els decorats i els efectes especials<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_79080_1('footnote_plugin_reference_79080_1_5');\" onkeypress=\"footnote_moveToReference_79080_1('footnote_plugin_reference_79080_1_5');\" ><sup id=\"footnote_plugin_tooltip_79080_1_5\" class=\"footnote_plugin_tooltip_text\">[5]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_79080_1_5\" class=\"footnote_tooltip\">Ibid.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_79080_1_5').tooltip({ tip: '#footnote_plugin_tooltip_text_79080_1_5', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Quan Viena \u2014una ciutat del segle XIX tant en l\u2019aparen\u00e7a <em>com<\/em> en els costums socials\u2014 no els va oferir el m\u00f3n que els nostres cineastes anhelaven, van sortir disparats a rodar a Hamburg i Nova York carregats amb el vestuari i l\u2019atrezzo.<\/p>\n<p><img decoding=\"async\" width=\"950\" height=\"675\" class=\"alignnone size-full wp-image-78970\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/Flaming-Ears_Rote_Ohren_fetzen_durch_Asche_Club_Sturmwind_im_Rucken_The_Tempest_at_Our_Backs.jpg\" alt=\"Flaming Ears, FILMSTILL\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/Flaming-Ears_Rote_Ohren_fetzen_durch_Asche_Club_Sturmwind_im_Rucken_The_Tempest_at_Our_Backs.jpg 950w, https:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/Flaming-Ears_Rote_Ohren_fetzen_durch_Asche_Club_Sturmwind_im_Rucken_The_Tempest_at_Our_Backs-563x400.jpg 563w, https:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/Flaming-Ears_Rote_Ohren_fetzen_durch_Asche_Club_Sturmwind_im_Rucken_The_Tempest_at_Our_Backs-768x546.jpg 768w\" sizes=\"(max-width: 950px) 100vw, 950px\" \/><\/p>\n<p class=\"isSelectedEnd\">6.<br \/>\nAl tercer o quart visionat, vaig comen\u00e7ar a frustrar-me davant la gaireb\u00e9 impossibilitat de seguir la trama, si \u00e9s que es pot dir que <em>Flaming Ears<\/em> en tingui cap. Com va escriure alg\u00fa, <em>Flaming Ears<\/em> no \u00e9s \u00abuna pel\u00b7l\u00edcula narrativa, sin\u00f3 un deambular burlesc per un erm l\u00e8sbic\u00bb<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_79080_1('footnote_plugin_reference_79080_1_6');\" onkeypress=\"footnote_moveToReference_79080_1('footnote_plugin_reference_79080_1_6');\" ><sup id=\"footnote_plugin_tooltip_79080_1_6\" class=\"footnote_plugin_tooltip_text\">[6]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_79080_1_6\" class=\"footnote_tooltip\">BL Panther, \u00ab<em>Flaming Ears<\/em> Is a Queer Dystopian Romp Through an Uncertain Future\u00bb, <em>INTO<\/em>, 5 de juny de 2023.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_79080_1_6').tooltip({ tip: '#footnote_plugin_tooltip_text_79080_1_6', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Si m\u2019obliguessin a oferir-ne una sinopsi, aquesta serviria tan b\u00e9 com qualsevol altra: Spy \u00e9s una dibuixant de c\u00f2mics la impremta de la qual ha estat incendiada per Volley, una artista de performance pir\u00f2mana, i decideix venjar-se\u2019n. La persecuci\u00f3 la porta al club on actua Volley, per\u00f2 Spy rep una pallissa abans de poder avan\u00e7ar gaire en els seus prop\u00f2sits de venjan\u00e7a. Nun, l\u2019amant extraterrestre de Volley, enfundada en cuir vermell incandescent, troba Spy ferida i se n\u2019enamora. El que segueix \u00e9s un triangle cada vegada m\u00e9s inestable de desig, gelosia, tra\u00efci\u00f3 i viol\u00e8ncia<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_79080_1('footnote_plugin_reference_79080_1_7');\" onkeypress=\"footnote_moveToReference_79080_1('footnote_plugin_reference_79080_1_7');\" ><sup id=\"footnote_plugin_tooltip_79080_1_7\" class=\"footnote_plugin_tooltip_text\">[7]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_79080_1_7\" class=\"footnote_tooltip\">Sixpackfilm, \u00ab<em>Flaming Ears \/ Rote Ohren fetzen durch Asche<\/em>\u00bb, cat\u00e0leg cinematogr\u00e0fic.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_79080_1_7').tooltip({ tip: '#footnote_plugin_tooltip_text_79080_1_7', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.<\/p>\n<p class=\"isSelectedEnd\">7.<br \/>\nEn el seu assaig <a href=\"https:\/\/www.bfi.org.uk\/sight-and-sound\/features\/new-queer-cinema\" target=\"_blank\" rel=\"noopener\">\u201cNew Queer Cinema\u201d<\/a>, publicat a <em>Sight &amp; Sound<\/em> el 1992, B. Ruby Rich va condensar la teatralitat ind\u00f2mita de la pel\u00b7l\u00edcula en descriure-la com a posse\u00efdora d\u2019\u00abuna atmosfera de cabaret, runa i venjan\u00e7a\u00bb<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_79080_1('footnote_plugin_reference_79080_1_8');\" onkeypress=\"footnote_moveToReference_79080_1('footnote_plugin_reference_79080_1_8');\" ><sup id=\"footnote_plugin_tooltip_79080_1_8\" class=\"footnote_plugin_tooltip_text\">[8]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_79080_1_8\" class=\"footnote_tooltip\">B. Ruby Rich, \u00abNew Queer Cinema\u00bb, <em>Sight &amp; Sound<\/em>, vol. 2, n\u00fam. 5, setembre de 1992, pp. 30\u201334.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_79080_1_8').tooltip({ tip: '#footnote_plugin_tooltip_text_79080_1_8', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. La sensualitat crua i improvisada de cada escena s\u2019imposa a qualsevol forma de trama o narraci\u00f3. \u00c9s un cinema de textures aspres i \u2014potser aquest \u00e9s el seu recurs m\u00e9s enginy\u00f3s\u2014 de so exagerat, tots dos al servei de les qualitats materials de la posada en escena.<\/p>\n<p class=\"isSelectedEnd\">8.<br \/>\nQuan Scheirl descriu les seves primeres pel\u00b7l\u00edcules en Super 8 amb P\u00fcrrer com a performances per a la c\u00e0mera, destaca \u00abla performance, el gest, la pose\u00bb. <em>Flaming Ears<\/em> expandeix aquest dispositiu \u00edntim per a dues persones i el converteix en una cosa multitudin\u00e0ria, un cor desenfrenat de cossos procedents de l\u2019entorn l\u00e8sbic dels cineastes, cosa que assoleix la seva expressi\u00f3 m\u00e9s v\u00edvida en les escenes del club nocturn, on la gent es contorneja, balla, posa, folla\u2026<\/p>\n<p class=\"isSelectedEnd\">9.<br \/>\nLes empremtes de les influ\u00e8ncies de P\u00fcrrer, Scheirl i Schipek es poden rastrejar al llarg de tota la pel\u00b7l\u00edcula \u2014l\u2019abrasivitat DIY del punk i el post-punk; les provocacions corporals i confrontatives de VALIE EXPORT; la teatralitat ocultista de Kenneth Anger; el deliri camp de Jack Smith; el melodrama cruel de Fassbinder i l\u2019artifici barroc d\u2019Ulrike Ottinger; i, potser de manera menys previsible, la destresa coreogr\u00e0fica del cinema d\u2019arts marcials de Tsui Hark i King Hu\u2014.<\/p>\n<p class=\"isSelectedEnd\">10.<br \/>\nSituem tot aix\u00f2 sobre la conservadora societat vienesa com a tel\u00f3 de fons, assenyalada en part pels s\u00edmbols cat\u00f2lics disseminats al llarg dels 84 minuts de la pel\u00b7l\u00edcula. Aqu\u00ed tenim l\u2019esgl\u00e9sia, sacsejada i convertida en objecte de joc com si fos un vell element d\u2019atrezzo. Com anuncia la introducci\u00f3 de la pel\u00b7l\u00edcula, Asche \u00e9s un lloc \u2014una mena d\u2019inversi\u00f3 de Sodoma i Gomorra\u2014 on \u00e9s \u00abmolt improbable que una \u00e0nima pura sobrevisqui\u00bb. Diguem-ne, si es vol, escatologia <a href=\"https:\/\/a-desk.org\/ca\/tema-del-mes\/anormalitats-magiques\/\" target=\"_blank\" rel=\"noopener\">queer<\/a>. O carnaval l\u00e8sbic. L\u2019ordre de les coses queda capgirat en aquest m\u00f3n trastocat d\u2019esdeveniments estranys i estridents.<\/p>\n<p><img decoding=\"async\" width=\"950\" height=\"675\" class=\"alignnone size-full wp-image-78973\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/Flaming-Ears_Rote_Ohren_fetzen_durch_Asche_Die_brennende_Stadt_The_burning_city_ASCHE.jpg\" alt=\"Flaming Ears, FILMSTILL\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/Flaming-Ears_Rote_Ohren_fetzen_durch_Asche_Die_brennende_Stadt_The_burning_city_ASCHE.jpg 950w, https:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/Flaming-Ears_Rote_Ohren_fetzen_durch_Asche_Die_brennende_Stadt_The_burning_city_ASCHE-563x400.jpg 563w, https:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/Flaming-Ears_Rote_Ohren_fetzen_durch_Asche_Die_brennende_Stadt_The_burning_city_ASCHE-768x546.jpg 768w\" sizes=\"(max-width: 950px) 100vw, 950px\" \/><\/p>\n<p class=\"isSelectedEnd\">11.<br \/>\nQuan, en una seq\u00fc\u00e8ncia animada dels primers minuts de la pel\u00b7l\u00edcula, un personatge cau davant d\u2019un fons de flames, som davant d\u2019un descens des de la gr\u00e0cia prelaps\u00e0ria cap al m\u00f3n caigut en pecat? I si tot ha quedat capgirat, quina mena de plaers perversos l\u2019esperen?<\/p>\n<p class=\"isSelectedEnd\">12.<br \/>\nDel llat\u00ed <em>cadere<\/em>, \u00abcaure, enfonsar-se, assentar-se, declinar, perir\u00bb, deriva la paraula cad\u00e0ver<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_79080_1('footnote_plugin_reference_79080_1_9');\" onkeypress=\"footnote_moveToReference_79080_1('footnote_plugin_reference_79080_1_9');\" ><sup id=\"footnote_plugin_tooltip_79080_1_9\" class=\"footnote_plugin_tooltip_text\">[9]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_79080_1_9\" class=\"footnote_tooltip\"><em>Oxford English Dictionary<\/em>, s. v. \u00abcadaver\u00bb.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_79080_1_9').tooltip({ tip: '#footnote_plugin_tooltip_text_79080_1_9', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Per\u00f2 aqu\u00ed la mort dif\u00edcilment es pot considerar un assumpte seri\u00f3s: al capdavall, els personatges de <em>Flaming Ears<\/em> moren m\u00e9s vegades de les que es poden comptar i tornen a la vida tantes altres.<\/p>\n<p class=\"isSelectedEnd\">13.<br \/>\nAl quart o cinqu\u00e8 visionat de <em>Flaming Ears<\/em>, estic frustrat i for\u00e7a desanimat per la meva incapacitat de treure l\u2019entrellat d\u2019aquella r\u00e0fega inicial de gestos absurds, accions i digressions verbals inconnexes. Poc despr\u00e9s, per\u00f2, apareix davant nostre la ciutat d\u2019Asche redu\u00efda a miniatura en una gran maqueta, com una totalitat radiant enviada per rescatar-me del bombardeig de sensacions, formes i imatges fragmentades. Per un instant s\u2019insinua la promesa de poder relacionar les parts amb un tot m\u00e9s gran, abans que ens arrosseguin de nou al caos.<\/p>\n<p class=\"isSelectedEnd\">14.<br \/>\nLa metr\u00f2polis imagin\u00e0ria d\u2019Asche apareix en miniatura: una maqueta elaborada o, com he acabat pensant-hi, una ciutat de joguina els habitants de la qual s\u00f3n vestits, col\u00b7locats, aparellats, mutilats, assassinats, ressuscitats i reorganitzats capriciosament, com per la m\u00e0 invisible d\u2019algun entremaliat d\u00e9u-nad\u00f3 (o de tres). Per al pediatre i psicoanalista brit\u00e0nic D. W. Winnicott, els objectes transicionals com les nines, les mantes i els ossets de peluix s\u00f3n \u00ababra\u00e7ats amb afecte\u00bb i tamb\u00e9 \u00abestimats i mutilats amb excitaci\u00f3\u00bb<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_79080_1('footnote_plugin_reference_79080_1_10');\" onkeypress=\"footnote_moveToReference_79080_1('footnote_plugin_reference_79080_1_10');\" ><sup id=\"footnote_plugin_tooltip_79080_1_10\" class=\"footnote_plugin_tooltip_text\">[10]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_79080_1_10\" class=\"footnote_tooltip\">D. W. Winnicott, \u00abTransitional Objects and Transitional Phenomena\u00bb, <em>International Journal of Psycho-Analysis<\/em>, vol. 34, 1953, pp. 89\u201397; reimpr\u00e8s a <em>Playing and Reality<\/em> (Londres: Tavistock, 1971).<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_79080_1_10').tooltip({ tip: '#footnote_plugin_tooltip_text_79080_1_10', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. A trav\u00e9s d\u2019ells, l\u2019infant descobreix la capacitat del m\u00f3n exterior de resistir tant el seu afecte com la seva agressivitat, cop a cop, esgarrapada a esgarrapada, mossegada a mossegada; \u00e9s a dir, una mena de \u00abdestrossa\u2019ls i a veure qu\u00e8 passa\u00bb, jugant amb una expressi\u00f3 que a hores d\u2019ara ens resulta familiar.<\/p>\n<p class=\"isSelectedEnd\">15.<br \/>\nPret\u00e9n l\u2019agressivitat de <em>Flaming Ears<\/em> \u2014juganera, impostada i caricaturesca com \u00e9s\u2014 transmetre algun tipus de lli\u00e7\u00f3 als espectadors? Ho dubto molt. En tot cas, som davant d\u2019un <a href=\"https:\/\/www.youtube.com\/watch?v=Xhsf1NdbeoE\" target=\"_blank\" rel=\"noopener\">film<\/a> que es rebel\u00b7la contra qualsevol intent d\u2019encabir-lo en una par\u00e0bola o en el compartiment massa ordenat del cinema feminista.<\/p>\n<p class=\"isSelectedEnd\">16.<br \/>\n<em>Flaming Ears<\/em> \u00e9s una producci\u00f3 exc\u00e8ntrica de ci\u00e8ncia-ficci\u00f3 en qu\u00e8 el joc, l\u2019artifici i la construcci\u00f3 de la identitat s\u00f3n una crida apassionada contra el conformisme. Si la ciutat no pot oferir-te els mons que desitges, sembla dir-nos, reuneix uns quants amics i construeix el teu. Aix\u00f2 s\u00ed, no t\u2019oblidis dels llumins.<\/p>\n<p class=\"isSelectedEnd\">(Totes les imatges: P\u00fcrrer, U., Scheirl, A. H. i Schipek, D. (directors), fotogrames de <em>Rote Ohren fetzen durch Asche<\/em>(estrenada en angl\u00e8s com <em>Flaming Ears<\/em>), \u00c0ustria, 1991\/1992. Sixpackfilm. <a href=\"http:\/\/www.sixpackfilm.com\/en\/catalogue\/2160\/\" target=\"_blank\" rel=\"noopener\">http:\/\/www.sixpackfilm.com\/en\/catalogue\/2160\/<\/a>)<\/p>\n<div style=\"max-width: 950px; width: 100%; margin: 0 auto;\"><iframe style=\"width: 100%; aspect-ratio: 16 \/ 9; border: 0;\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/Xhsf1NdbeoE\" allowfullscreen=\"allowfullscreen\"><br \/>\n<\/iframe><\/div>\n<p>&nbsp;<\/p>\n<p><span class=\"iNqyIf\" data-sfc-cp=\"\" data-sfc-root=\"ep\" data-complete=\"true\" data-copy-service-computed-style=\"font-family: &quot;Google Sans&quot;, &quot;Helvetica Neue&quot;, sans-serif; font-size: 16px; font-weight: 400; margin: 0px; text-decoration: none; border-bottom: 0px rgb(10, 10, 10);\">(Totes les imatges: P\u00fcrrer, U., Scheirl, A. H. i Schipek, D. (directors), fotogrames de <em>Rote Ohren fetzen durch Asche <\/em>(estrenada en angl\u00e8s com <em>Flaming Ears<\/em>), \u00c0ustria, 1991\/1992. Sixpackfilm. <a href=\"http:\/\/www.sixpackfilm.com\/en\/catalogue\/2160\/\" target=\"_blank\" rel=\"noopener\"><span class=\"iNqyIf\" data-sfc-cp=\"\" data-sfc-root=\"ep\" data-complete=\"true\" aria-owns=\"action-menu-parent-container\" data-copy-service-computed-style=\"font-family: &quot;Google Sans&quot;, &quot;Helvetica Neue&quot;, sans-serif; font-size: 16px; font-weight: 400; margin: 0px; text-decoration: none; border-bottom: 0px rgb(10, 10, 10);\">http:\/\/www.sixpackfilm.com\/en\/catalogue\/2160\/)<\/span><\/a><\/span><\/p>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_79080_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_79080_1();\">[<a id=\"footnote_reference_container_collapse_button_79080_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_79080_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_79080_1('footnote_plugin_tooltip_79080_1_1');\"><a id=\"footnote_plugin_reference_79080_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\">B. Ruby Rich, \u00abNew Queer Cinema\u00bb, <em>Sight &amp; Sound<\/em>, vol. 2, n\u00fam. 5, setembre de 1992, pp. 30\u201334; reimpr\u00e8s a <em>New Queer Cinema: The Director\u2019s Cut<\/em> (Duke University Press, 2013).<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_79080_1('footnote_plugin_tooltip_79080_1_2');\"><a id=\"footnote_plugin_reference_79080_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\">Remake. Frankfurter Frauen Film Tage, \u00ab<em>Rote Ohren fetzen durch Asche \/ Flaming Ears<\/em>\u00bb, programa de restauraci\u00f3, 2019.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_79080_1('footnote_plugin_tooltip_79080_1_3');\"><a id=\"footnote_plugin_reference_79080_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\">\u00ab<em>Flaming Ears<\/em> (1992)\u00bb, <em>366 Weird Movies<\/em>; vegeu tamb\u00e9 Sixpackfilm, filmografia d\u2019Ursula P\u00fcrrer.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_79080_1('footnote_plugin_tooltip_79080_1_4');\"><a id=\"footnote_plugin_reference_79080_1_4\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>4<\/a><\/th> <td class=\"footnote_plugin_text\">Holly Willis, \u00abReckless, Greedy and Dangerous: Angela Scheirl Talks About <em>Flaming Ears<\/em>\u00bb, <em>Filmmaker Magazine<\/em>, hivern de 1993.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_79080_1('footnote_plugin_tooltip_79080_1_5');\"><a id=\"footnote_plugin_reference_79080_1_5\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>5<\/a><\/th> <td class=\"footnote_plugin_text\">Ibid.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_79080_1('footnote_plugin_tooltip_79080_1_6');\"><a id=\"footnote_plugin_reference_79080_1_6\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>6<\/a><\/th> <td class=\"footnote_plugin_text\">BL Panther, \u00ab<em>Flaming Ears<\/em> Is a Queer Dystopian Romp Through an Uncertain Future\u00bb, <em>INTO<\/em>, 5 de juny de 2023.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_79080_1('footnote_plugin_tooltip_79080_1_7');\"><a id=\"footnote_plugin_reference_79080_1_7\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>7<\/a><\/th> <td class=\"footnote_plugin_text\">Sixpackfilm, \u00ab<em>Flaming Ears \/ Rote Ohren fetzen durch Asche<\/em>\u00bb, cat\u00e0leg cinematogr\u00e0fic.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_79080_1('footnote_plugin_tooltip_79080_1_8');\"><a id=\"footnote_plugin_reference_79080_1_8\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>8<\/a><\/th> <td class=\"footnote_plugin_text\">B. Ruby Rich, \u00abNew Queer Cinema\u00bb, <em>Sight &amp; Sound<\/em>, vol. 2, n\u00fam. 5, setembre de 1992, pp. 30\u201334.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_79080_1('footnote_plugin_tooltip_79080_1_9');\"><a id=\"footnote_plugin_reference_79080_1_9\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>9<\/a><\/th> <td class=\"footnote_plugin_text\"><em>Oxford English Dictionary<\/em>, s. v. \u00abcadaver\u00bb.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_79080_1('footnote_plugin_tooltip_79080_1_10');\"><a id=\"footnote_plugin_reference_79080_1_10\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>10<\/a><\/th> <td class=\"footnote_plugin_text\">D. W. Winnicott, \u00abTransitional Objects and Transitional Phenomena\u00bb, <em>International Journal of Psycho-Analysis<\/em>, vol. 34, 1953, pp. 89\u201397; reimpr\u00e8s a <em>Playing and Reality<\/em> (Londres: Tavistock, 1971).<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_79080_1() { jQuery('#footnote_references_container_79080_1').show(); jQuery('#footnote_reference_container_collapse_button_79080_1').text('\u2212'); } function footnote_collapse_reference_container_79080_1() { jQuery('#footnote_references_container_79080_1').hide(); jQuery('#footnote_reference_container_collapse_button_79080_1').text('+'); } function footnote_expand_collapse_reference_container_79080_1() { if (jQuery('#footnote_references_container_79080_1').is(':hidden')) { footnote_expand_reference_container_79080_1(); } else { footnote_collapse_reference_container_79080_1(); } } function footnote_moveToReference_79080_1(p_str_TargetID) { footnote_expand_reference_container_79080_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } } function footnote_moveToAnchor_79080_1(p_str_TargetID) { footnote_expand_reference_container_79080_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } }<\/script>","protected":false},"excerpt":{"rendered":"<p>1. En aquells vertiginosos darrers anys vuitanta i primers noranta del segle passat \u2014la fi de la hist\u00f2ria, per a alguns\u2014, mentre queia el Mur de Berl\u00edn, la Uni\u00f3 Sovi\u00e8tica&#8230;<\/p>\n","protected":false},"author":3010,"featured_media":78977,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[9367],"tags":[6072,7148,5555],"coauthors":[9413],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Rote Ohren fetzen durch Asche<\/title>\n<meta name=\"description\" content=\"Sobre Rote Ohren fetzen durch Asche. 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