小鹿斑比的麻烦:迪斯尼的小鹿斑比和美国人对自然的看法

Ralph H. Lutts
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引用次数: 39

摘要

沃尔特·迪斯尼的影响在美国文化中如此普遍,以至于经常被忽视。显而易见的事情很容易被忽视。“全世界都在看美国,”一个汽车保险杠贴纸写道,“而整个美国都在看华特·迪士尼。”一位流行心理学家有另一种说法。“毕竟,”她写道,“迪士尼动画片是一种共同的文化遗产,早于《切海狸》和《你好杜迪》。他们是我们全球媒体村....的开始不管是好是坏,沃尔特叔叔开创了标准童年记忆的概念。”尤其是迪士尼的动物角色,它们确实是“我们文化DNA的一部分”。其中一个角色小鹿斑比,在塑造美国人对鹿和林地生活的态度和理解方面,已经并将继续发挥关键作用。很难找到一部电影、一个故事或一个动物角色对我们对野生动物的看法比1942年沃尔特·迪斯尼动画电影《小鹿斑比》中的英雄更有影响力。它可能已经成为美国流行文化中反对狩猎的最成功和最持久的声明。仔细研究一下这段电影般的陈述,就会揭示出当前支持狩猎运动的人和寻求结束狩猎运动的人之间争论的一些基本思想。这部电影改编自1926年Felix Salten(奥地利小说家、记者和戏剧评论家Siegmund Salzmann的笔名)所著的《小鹿斑比:林中生活》,并于1928年在美国出版。惠特克·钱伯斯出色的英文翻译反映了他对自然的深刻的、审美的热爱。这部电影的成功建立在一本好书的基础上,建立在知道如何吸引观众兴趣的人编写和设计的精湛动画上,建立在迪士尼非凡的营销机器上,在过去的50年里一直在推广小鹿斑比。在这个过程中,迪士尼的小鹿斑比获得了一个明显属于自己的内容和角色,尽管它与萨尔滕的原著小说有很多相似之处。迪斯尼版的小鹿斑比
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Trouble with Bambi: Walt Disney's Bambi and the American Vision of Nature
Walt Disney's influence is so pervasive in American culture that it often goes unrecognized. It is easy to overlook the obvious. "All the world is watching the United States," proclaimed a bumper sticker, "and all the United States is watching Walt Disney." A pop-psychologist put it another way. "After all," she wrote, "Disney cartoons are a shared cultural heritage that predate Beaver Cleaver and Howdy Doody. They are the beginning of our global media village.... For better or worse, Uncle Walt pioneered the notion of a standardissue childhood memory." Disney's animal characters, in particular, are truly "a part of our cultural DNA."1 One of these characters, Bambi, has played and continues to playa key role in shaping American attitudes about and understanding of deer and woodland life. It is difficult to identify a film, story, or animal character that has had a greater influence on our vision of wildlife than the hero of Walt Disney's 1942 animated feature, Bambi. It has become perhaps the single most successful and enduring statement in American popular culture against hunting. An examination of this cinematic statement will reveal some of the ideas underlying the present debate between those who support sport hunting and those who seek its end. The film was based on Bambi: A Life in the Woods, written in 1926 by Felix Salten (pen name of the Austrian novelist, journalist, and theater critic, Siegmund Salzmann), and published in the United States in 1928. Whittaker Chambers' superb English translation reflected his own deep, aesthetic love of nature. The film's success was built on the foundation of a fine book, on superb animation that was scripted and designed by people who knew how to appeal to the interests of the viewing public, and on Disney's extraordinary marketing machine that has promoted Bambi for the past fifty years. In the process, Disney's Bambi acquired a content and character that are distinctly its own, despite its many similarities to Salten's original novel. The Disney Version of Bambi
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