西线不平静德国人对 Netflix 2022 年翻拍电影的反应

Michael J. Geheran, Mark Gagnon
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引用次数: 0

摘要

2022 年 10 月,Netflix 翻拍的《西线无战事》(Im Westen nichts Neues)在美国、英国等国家上映后大获好评,受到影评人和电影观众的一致好评,最终获得了 7 项英国电影学院奖和 4 项奥斯卡奖,是德语电影获奖最多的一次。然而,德国国内的反应却截然不同。该片被历史学家一致抨击为 "漏洞百出、陈词滥调、不真实(均由迈克尔-盖赫兰翻译自德文)",并被评论家讥讽为奥斯卡诱饵,这是一种经常被用来贬低文化作品的反美套路。南德意志报》调侃道:"没有一本书好到你无法用它拍出一部烂片。"而《法兰克福汇报》则指责制片人 "对奥斯卡奖饥渴难耐",剔除了 "内在情节、故事的头脑","取而代之的是好莱坞的程序"。如何理解对同一部影片如此大相径庭的反应?德国人的反应不能简单地用导演爱德华-伯杰对历史的自由发挥来解释,也不能简单地用对电影与埃里希-马里亚-雷马克的小说情节差异的失望来解释,而可以说,由于德国过去的长期阴影仍然沉重地压在德国人的心头,他们的反应揭示了更深层次的焦虑。这部电影是否迎合了大众对战争的印象,从而使其在德国的意义不同于美国或英国等具有不同记忆文化的国家?德国人对该片的反感在多大程度上是受第二次世界大战而不仅仅是第一次世界大战的影响?带着这些问题,本文将探讨德国人对《2022》这部影片的反应,以及这些反应对德国记忆文化的启示,同时密切关注影片的语言、内涵以及可能对德国观众特别有意义的意象。可以肯定的是,影评并不是了解大众态度和心态的最可靠来源,但人们对 Netflix 的《全境封锁》的截然不同的看法说明了一些重要问题,即军国主义和大屠杀的记忆如何以及是否继续影响着德国人对战争的看法。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Not So Quiet on the Western Front: German Reactions to Netflix's 2022 Remake
In October 2022, Netflix's remake of All Quiet on the Western Front (Im Westen nichts Neues) opened to great acclaim in the United States, Great Britain, and other countries, receiving rave reviews from critics and movie-goers alike, eventually winning seven BAFTAs and four Oscars, the most awards ever for a German-language production. In Germany, however, reactions could not have been more different. The film was roundly panned by historians as “flawed, cliché-laden, and unauthentic [all translations from German by Michael Geheran],” and derided by critics as Oscar bait, an anti-American trope often used to disparage a cultural production. In what has now become something of a punchline, the Süddeutsche Zeitung quipped that “No book is so good you can't make a bad film out of it,” while the Frankfurter Allgemeine Zeitung charged that the producers were “horny for an Oscar,” having removed “the inner plot, the brains of the story” and “replaced them with a Hollywood program.” How to make sense of such dramatically different reactions to the same film? Germans’ responses cannot simply be explained by the historical liberties taken by the director, Edward Berger, or disappointment with the plot differences between the movie and Erich Maria Remarque's novel, but arguably reveal deeper anxieties as the long shadow of Germany's past continues to weigh heavily on German minds. Does the film pander to popular images about war in a way that has different meaning in Germany than, say, in the US or the UK, with their different memory cultures? How much is German dislike of the film shaped by the legacy of the Second World War and not just the First? With these questions in mind, this essay will consider German reactions to the 2022 film and what they say about Germany's memory culture, paying close attention to the film's language, connotations, and imagery that may be particularly meaningful to German audiences. To be sure, film reviews are not the most reliable source for getting at popular attitudes and mentalities, but the stark divergence of opinion about Netflix's All Quiet say something important about how and whether memories of militarism and the Holocaust continue to shape how Germans think about war.
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