No Exit: Death Drive, Dystopia, and the Long Winter of the American Dream in Harold Ramis’s The Ice Harvest

IF 0.4 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY
Eric D. Smith
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引用次数: 0

Abstract

This article examines Harold Ramis’s 2005 noir comedy The Ice Harvest as the critically dystopian counter-panel to his beloved 1993 film Groundhog Day, a film frequently discussed within the paradigm of utopia. While starkly different in genre, tone, and reception, the two films comprise a dialectical dyad that registers the historical transition from the utopian cultural effervescence of the early 1990s to the tragic foreclosure of imaginative horizons and the dystopian transformation of economic, political, and social landscapes in the new millennium. In The Ice Harvest, the author argues, this is achieved through a strategic reactivation of film noir as a variant of the critical dystopia.
没有出口:哈罗德-雷米斯的《冰雪收获》中的死亡驱动、乌托邦和美国梦的漫长寒冬
本文探讨了哈罗德-雷米斯 2005 年的黑色喜剧片《冰雪收获》,该片是他 1993 年的心爱之作《土拨鼠日》的反面教材,而《土拨鼠日》是一部经常在乌托邦范式下讨论的影片。虽然两部电影在类型、基调和接受程度上截然不同,但它们构成了一个辩证的二元对立,记录了从 20 世纪 90 年代初的乌托邦文化热潮到新千年中想象力视野的悲剧性丧失以及经济、政治和社会景观的乌托邦式转变的历史过渡。作者认为,在《冰雪收获》中,这是通过战略性地重新激活黑色电影作为批判性乌托邦的变体来实现的。
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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来源期刊
Utopian Studies
Utopian Studies HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.40
自引率
0.00%
发文量
27
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