Komplexität in multiperspektivisch erzählten Filmen: Aufbau von Komplexität mit Hilfe verschiedener Erzählstrategien in "Rashomon und "Syriana
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Komplexität ist in unserer gegenwärtigen Welterfahrung deutlich anhand der allgemeinen Zunahme von Informationen, Lebensentwürfen und Wahlmöglichkeiten spürbar. Blickt man auf die künstlerischen Ideen im Umfeld dieser Ausdifferenzierungsprozesse, so bietet das multiperspektivische Erzählen eine passende Form, die Pluralismus und Polyphonie adäquat darzustellen vermag. Im Zentrum dieser Arbeit steht die Analyse zweier Spielfilme ("Rashomon" aus dem Jahr 1950 und "Syriana" aus dem Jahr 2005), die beide auf sehr unterschiedliche Weise multiperspektivisch erzählen. Anhand dieser beiden Werke erkundet Bärbel Scherf die Bandbreite wie die Funktionalisierungen dieses im filmischen Kontext recht jungen Erzähltypus und geht auch auf die historischen Hintergründe desselben ein. Am Ende steht die Einsicht, dass "Rashomon" und "Syriana" sich nicht nur sehr unterschiedlicher Formen multiperspektivischen Erzählens bedienen. Es wird auch argumentiert, dass die Erzählform in beiden Filmen diametral entgegengesetzt funktionalisiert wird: Während die komplexe Erzählstrategie bei "Rashomon" Gewissheiten in Frage stellt, fungiert sie im Fall von "Syriana" zur Vertrauensbildung in die Darstellbarkeit der Welt.
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