PROSECUTOR, RESCUER, VICTIM: THREE SIDES OF A VIOLENT TRIANGLE: A SOCIOANALYSIS OF ALEJANDRO GONZÁLEZ IÑÁRRITU’S AMORES PERROS

With the emergence of postmodern thought, human relationships have deteriorated. Due to this fact, there is unimaginable excessive violence as one may uncover the layers of society. Sociological theorists believe that the most important reason behind this ferocity would be some social discrimination like poverty and inequality. Such a condition forces the masses to make inefficient decisions in their lives. In other words, the masses to establish a relationship turn into ‘a psychological limbo’. Stephen Karpman takes this matter into consideration and criticizes such a problem in his famous theory, ‘Karpamn Drama Triangle’. As far as one may concern, his triangle has three edges: ‘persecutor, rescuer, and victim’; and they repeatedly exchange their indistinguishable roles. Regarding this, from the very beginning of the emergence of motion pictures into the world of art, the directors, captivated by the social circumstances of their characters, depict such a condition in their movies. From this point of view, an outstanding Mexican director, Alejandro González Iñárritu, a storyteller of the human condition, depicts such a kind of disorder in his non-chronological movies, particularly Amores Perros. He incredibly shows the terrible fate of the characters who have stuck in Karpman’s triangle, which end up as the victim of the game. Therefore, this study investigates how the social dilemmas challenge the characters in Amores Perros, the nonlinear depiction of a disintegrated society.

Keywords:

Iñárritu , violence , Karpman , cinema , Amores Perros