殖民喜剧:《德里女孩》中被驯化的恐怖主义中的规模倒置和少数民族错位

IF 1.5 Q2 COMMUNICATION
June Deery
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引用次数: 0

摘要

摘要这部情景喜剧能影射暴力和民族仇恨吗?它能以本土化的历史吸引全球观众吗?如果是这样,这揭示了政治喜剧的哪些特征?《德里女孩》(2018-22)由英国第四频道播出,Netflix在全球范围内播放,展示了喜剧处理政治分歧的得失。我的文本分析评估了酝酿潜在悲剧素材的技巧,重点关注心理政治错位及其产生的各种不协调喜剧。特别是,我用尺度倒置的概念来确定喜剧的一个基本元素,在这个系列中,它与移民殖民地内部的政治冲突有关。尺度倒转是所谓异常正常化、极端地方主义,甚至某种程度上的刻板印象背后的机制,这些都可以在一系列描绘地缘政治流离失所的天主教少数民族生活在北爱尔兰“麻烦”中的故事中找到。关键词:喜剧理论政治小说阶级种族殖民主义爱尔兰刻板印象披露声明作者未发现潜在的利益冲突。我的分析部分来自于我在爱尔兰动乱时期在德里附近的天主教家庭长大的经历。要对这一时期及之后的生活经历进行更集体的民族志评估,请参见Waller (Citation2021)。关于北爱尔兰的著名历史,请参见Bardon (Citation2005)和O’leary (Citation2019)。关于北爱尔兰历史和政治学术研究的批判性概述,见Miller (Citation1998)。一些学者认为,不太关注消极/积极的媒体刻板印象作为理解和重塑文化政治的场所,例如Herman Gray (Citation2005)。然而,我认为,经过几个世纪的磨练,独特的爱尔兰风格在这些项目中仍然具有操作性和高度重要性。对爱尔兰背景的分析更多地集中在电影而不是电视上,更多地集中在英国和美国而不是爱尔兰的作品上,更多地集中在爱尔兰而不是北爱尔兰的表现上。关于北爱尔兰的爱尔兰电影研究有:MacKillop (Citation1999), mclone (Citation2008)和Monahan (Citation2015)。专门介绍北爱尔兰电影和媒体的书籍包括希尔(Citation2006)、麦克罗伊(Citation2001)和麦克劳克林和贝克(Citation2010)。对北爱尔兰娱乐电视的分析很少(与新闻或纪录片相反),但最近德里女孩引起了一些兴趣:例如,Alvarez (Citation2022), Coulter (Citation2020), McIntyre (Citation2022), Schwetman (Citation2021)。滑稽的小品喜剧《让我的头平静下来》(BBC NI, 1995-2005)与麦基的系列有一些相似之处,但它的吸引力主要局限于北爱尔兰的观众。关于北爱尔兰在动乱结束后集体跨代创伤的描述,见Long (Citation2021)。在圣母院的“好斗的爱尔兰人”、波士顿凯尔特人队和其他每年圣帕特里克节出现的厚下巴“小妖精”的标志中,也保留了一些这种猿类的形象。尽管有着悠久的历史,但爱尔兰人的刻板印象仍然令人惊讶地没有得到充分研究。关于爱尔兰人在现代电影中的刻板印象,请看《希尔》(Citation1988)。此外,正如米勒在1998年所观察到的,学者们在从殖民/后殖民的角度看待北爱尔兰方面起步较晚。https://www.youtube.com/watch?v=ERrcjuY6Pag&t=4s.11。有关爱尔兰裔美国白人现代地位的精彩讨论,请参阅黛安·内格拉的文集(内格拉,引文2006)。想了解更多关于《德里女孩》中的男性角色和阳刚之气,请参见Alvarez (Citation2022)。作者:june Deery作者:june Deery是伦斯勒大学媒体研究教授。她的研究兴趣包括政治小说、喜剧理论、种族/民族、阶级和性别的当代表现以及真人秀电视。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Colonial comedy: scale inversion and minority dislocation in the domesticated terrorism of Derry Girls
ABSTRACTCan the sitcom allude to violence and ethnic hatred? Can it engage a global audience with localized history? If so, what does this reveal about the parameters of political comedy? Broadcast by UK’s Channel 4 and streamed internationally by Netflix, Derry Girls (2018–22) illustrates gains and losses in the comic treatment of political discord. My textual analysis assesses techniques that leaven potentially tragic material, focusing on psycho-political dislocation and its generation of a variety of Incongruity Comedy. In particular, I use the concept of scale inversion to identify a fundamental element of comedy which in this series is linked to internalized political conflicts in a settler colony. Scale inversion is the mechanism behind what might be termed aberrant normalization, extreme localism, and even to some extent stereotyping, all found in a series depicting the geopolitically displaced Catholic minority living through the Northern Ireland “Troubles.”KEYWORDS: Comedy theorypolitical fictionclassracecolonialismIrish stereotypes Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. My analysis draws in part from my experience growing up Catholic, near Derry, during the Troubles. For a more collective ethnographic assessment of the experience of living through this period, and since, see e.g., Waller (Citation2021).2. For well-regarded histories of Northern Ireland, see Bardon (Citation2005) and O’Leary (Citation2019).3. For a critical overview of academic research on Northern Irish history and politics, see Miller (Citation1998).4. Some scholars argue for less focus on negative/positive media stereotypes as the site for understanding and reshaping cultural politics, e.g., Herman Gray (Citation2005). However, I argue that distinctive Irish types, hardened over centuries, remain operational and highly significant in such projects.5. Analyses of Irish settings have focused more on film than television, more on British and American than Irish productions, and more on Irish than Northern Irish representations. Irish film studies with more than one chapter on Northern Ireland include: MacKillop (Citation1999), McLoone (Citation2008), and Monahan (Citation2015). Books dedicated to Northern Irish film and media include Hill (Citation2006), McIlroy (Citation2001), and McLaughlin and Baker (Citation2010). Analyses of Northern Irish entertainment television are rare (as opposed to news or documentary), but recently Derry Girls has generated some interest: e.g., Alvarez (Citation2022), Coulter (Citation2020), McIntyre (Citation2022), Schwetman (Citation2021).6. The zany sketch comedy Give My Head Peace (BBC NI, 1995–2005) bore some resemblance to McGee’s series, but its appeal was largely confined to Northern Irish audiences.7. For an account of the collective transgenerational trauma in Northern Ireland following the end of the Troubles, see Long (Citation2021).8. Some of this simian iconography persists in logos for Notre Dame’s “fighting Irish,” the Boston Celtics, and other thick-jawed “leprechauns” who appear each St. Patrick’s Day.9. Despite their long history, Irish stereotypes are still surprisingly under-studied. For the persistence of Irish stereotypes in modern film, see Hill (Citation1988). In addition, as Miller observed in1998, academics arrived late in viewing Northern Ireland in colonial/post-colonial terms.10. https://www.youtube.com/watch?v=ERrcjuY6Pag&t=4s.11. For excellent discussions of the modern status of Irish American whiteness, see Diane Negra’s collection (Negra, Citation2006).12. For more on male characters and masculinity in Derry Girls, see Alvarez (Citation2022).Additional informationNotes on contributorsJune DeeryJune Deery is Professor of Media Studies at Rensselaer. Her research interests include political fiction, comedy theory, contemporary representation of race/ethnicity, class and gender, and Reality TV.
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Popular Communication
Popular Communication COMMUNICATION-
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