Obrok dana posle sutra - predstave o hrani i ishrani u post-apokaliptičnim filmovima

Abstract

Rad se bavi kulturnim predstavama o hrani i ishrani u filmovima na temu postapokalipse. Hrana/ishrana u ovim filmovima funkcioniše kao metafora uz pomoć koje se prikazuje buduća regresija ljudske civilizacije u pretpostavljene ranije stupnjeve razvoja. Hrana u ovim delima tako postaje moćan simbol, ona služi da se označi granica (ali predstavlja i posrednika) između reda (civilizacije) i haosa (postapokaliptičnog društva budućnosti), da se ocrta suprotnost između nas (mi, ljudi) i drugih (oni, ne-ljudi). Pitanja koja se u radu postavljaju jesu kakva je hrana opisana jezikom kraja sveta i kakve socijalne odnose ljudi u takvom okruženju upotrebom hrane grade, koji su strahovi, vezani za hranu današnjice, fiktivno oblikovani i izraženi uz pomoć medija naučnofantastičnog filma. Razmatranjem filmskih scena ishrane u izabranim delima izdvojiće se teme koje se ponavljaju u vezi s hranom, to jest ispitaće se modeli ishrane koji su zajednički postapokaliptičnim filmovima i čija je svrha/cilj da se naznači 'drugačijost' budućnosti.

The paper considers cultural ideas about food and nutrition in movies depicting a post-apocalyptic world. Food/nutrition in these movies functions as a metaphor which is used to depict the future regression of human civilization to a hypothetical previous stage of development. Food also becomes a powerful symbol in these movies, it is used to outline the boundary (but is also a mediator) between order (civilization) and chaos (the post-apocalyptic society of the future), to underline the contrast between us (we, humans) and others (them, non-humans). The questions posed in this paper are concerned with the kind of food which is described utilizing the language of the end of the world, and the social relations, established through the use of food, between people in such environments, the fears about contemporary food fictionally shaped and expressed through science fiction movies etc. By examining scenes of food consumption in the chosen films, certain recurrent themes pertaining to food will be isolated, and models of nutrition which post-apocalyptic movies have in common will be considered as ways to denote the 'otherness' of the future.