The Spirit of ’76

J. Hoberman
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Abstract

In this chapter the legendary New York film critic J Hoberman revisits the Bicentennial, 1976, a year characterized by a longing for rebirth and a search for new heroes, in Hollywood and in politics. The nihilistic Taxi Driver, opened in February 1976; it featured the decade’s most compelling anti-hero Travis Bickle, who can be seen as the ultimate expression of the New Hollywood (not least in its critical and popular success). Bickle’s antipode arrived in the person of Sylvester Stallone’s Rocky, protagonist of an even more successful movie that, retrograde in every way, was the first major expression of a reborn Hollywood—a narrative paralleled in the political realm by Jimmy Carter’s “Cinderella” ascension to the White House.
76年的精神号
在这一章中,传奇的纽约影评人J·霍伯曼(J Hoberman)回顾了1976年的200周年纪念,这一年的特点是渴望重生,在好莱坞和政界寻找新的英雄。虚无主义的《出租车司机》于1976年2月上映;它以十年来最引人注目的反英雄特拉维斯·比克尔为主角,他可以被视为新好莱坞的终极表达(尤其是在评论界和流行界的成功上)。比克尔的对立面出现在西尔维斯特·史泰龙(Sylvester Stallone)饰演的洛奇(Rocky)身上,他是一部更成功的电影的主角,这部电影在各方面都是逆行的,但却是好莱坞重生的第一个主要表现——在政治领域,这种叙事与吉米·卡特(Jimmy Carter)的“灰姑娘”(Cinderella)入主白宫的故事并行不悖。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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