Carnal Metamorphosis in Hannibal (2013-2015)

Abstract

This paper explores the integration of German surrealist motifs within the visual and thematic design of the TV series Hannibal (2013–2015). Through detailed visual analysis, it examines how animal figures such as the raven-stag and Wendigo serve as metaphors for identity and transformation, aligning with the works of Max Ernst, Hans Bellmer, and Meret Oppenheim. The paper contends that Hannibal not only inherits surrealism's fascination with the unconscious but also reinvents it within contemporary media, embodying Freud's psychoanalytic principles and André Breton’s ideology. Employing German surrealist aesthetics, Hannibalcrafts a narrative of psychological metamorphosis and human-animal hybridity. This synthesis invites viewers to experience a visceral reimagining of surrealism’s painterly concerns in a cinematic format. By reinterpreting surrealist themes for contemporary media, Hannibal invites a reevaluation of surrealism's role in shaping modern narratives of identity, morality, and metamorphosis.