Clarifying notions of excess, attractions, and performativity in The Wolf of Wall Street
DOI:
https://doi.org/10.31501/clogia.v18i1.15727Abstract
Some terms have become common in film theory since the second half of the 20th century. However, excess, attractions, affects and performance are notions whose specificities and interfaces are not always clearly defined. This article uses a film from contemporary mainstream cinema, The Wolf of Wall Street, by Martin Scorsese, as a way of analyzing how all these theoretical lines intersect in cinematic practice. The film was chosen, in part, because of its media reception, which emphasized its “excessive” content. What became clear, however, is that the term is used, in this case, as a synonym for moral taxation, which ultimately denotes a conception of cinema based on the dictates of Western rationalism.
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