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This chapter examines Alejandro G. Iñárritu’s Death Trilogy (Amores Perros, 21 Grams, Babel) as adaptations of one another and of Edward Lorenz’s chaos theory concept of the butterfly effect, marshalling adaptation theory (Leitch, Grossman, Hutchinson, Austin and Lahr-Vivaz) and aesthetic theory (Böhme, Bersani) to argue that the failed pursuits of causality the films elicit become important aesthetic modes of resistance to the construction and policing of local and global borders. This is particularly the case, the chapter argues, as the Death Trilogy films entangle the spectator in their complex plot structures and their echoes of one another, disallowing the spectator to “solve” or complete them and thus forcing an aesthetic experience that collapses the border between audience and work as an extension of the porous borders between first and third world, white and brown, characters the films posit.

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Adapting Cinema to the Uncertainties of Global Subjectivity: Alejandro G. Iñárritu’s Butterfly Effects and the Aesthetics of Entanglement

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  • 发表日期：

    2025年

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  • Rebecca A. Sheehan

摘要

This chapter examines Alejandro G. Iñárritu’s Death Trilogy (Amores Perros, 21 Grams, Babel) as adaptations of one another and of Edward Lorenz’s chaos theory concept of the butterfly effect, marshalling adaptation theory (Leitch, Grossman, Hutchinson, Austin and Lahr-Vivaz) and aesthetic theory (Böhme, Bersani) to argue that the failed pursuits of causality the films elicit become important aesthetic modes of resistance to the construction and policing of local and global borders. This is particularly the case, the chapter argues, as the Death Trilogy films entangle the spectator in their complex plot structures and their echoes of one another, disallowing the spectator to “solve” or complete them and thus forcing an aesthetic experience that collapses the border between audience and work as an extension of the porous borders between first and third world, white and brown, characters the films posit.