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

IF 0.4 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY
Eric D. Smith
{"title":"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","authors":"Eric D. Smith","doi":"10.5325/utopianstudies.34.3.0380","DOIUrl":null,"url":null,"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.","PeriodicalId":44751,"journal":{"name":"Utopian Studies","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"No Exit: Death Drive, Dystopia, and the Long Winter of the American Dream in Harold Ramis’s The Ice Harvest\",\"authors\":\"Eric D. Smith\",\"doi\":\"10.5325/utopianstudies.34.3.0380\",\"DOIUrl\":null,\"url\":null,\"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.\",\"PeriodicalId\":44751,\"journal\":{\"name\":\"Utopian Studies\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2023-11-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Utopian Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5325/utopianstudies.34.3.0380\",\"RegionNum\":4,\"RegionCategory\":\"社会学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"HUMANITIES, MULTIDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Utopian Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5325/utopianstudies.34.3.0380","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 0

摘要

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。
No Exit: Death Drive, Dystopia, and the Long Winter of the American Dream in Harold Ramis’s The Ice Harvest
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.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
Utopian Studies
Utopian Studies HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.40
自引率
0.00%
发文量
27
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术官方微信