乔·兰普顿(Joe Lampton)的南北分界线:在《人在顶端》(1970年至72年)中回忆位置和空间

IF 0.4 0 FILM, RADIO, TELEVISION
P. Kiszely
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引用次数: 1

摘要

本文考虑了泰晤士电视台的《男人在顶端》(1970-72)中对区域和物质性的描述。通过回顾过去来处理现在,该系列批评了战后及以后改变国家面貌的建筑重建。这一转变是通过系列主角乔·兰普顿(Joe Lampton)的偏见之眼看到的,他是一个20世纪50年代的反英雄,在一个更加不确定的时代被回收。他发现自己陷入了传统的牵引和进步的推动之间——分别与北方工业区(他的家乡约克郡)和南方国际化区(他在伦敦的同期生活)结盟。为什么在20世纪70年代初的大背景下,兰普顿的北方必须与过去联系在一起?物质性是如何构建记忆的?这篇文章通过将这部电视剧以及更广泛的电视文化映射到其社会政治时刻来回应这些问题。它通过建构主义分析得出结论,一方面借鉴了“新左派”风格的话语,另一方面也借鉴了与集体记忆和物质性有关的哲学。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Joe Lampton’s north‐south divide: Remembering place and space in Man at the Top (1970‐72)
This article considers the depiction of region and materiality in Thames Television’s Man at the Top (1970‐72). Dealing with the present by looking to the past, the series critiques the architectural reconstruction that changed the face of the country during the post-war years and beyond. This transformation is seen through the jaundiced eye of series protagonist Joe Lampton, a 1950s anti-hero recycled for a more uncertain age. He finds himself caught between the pull of tradition and the push for progress ‐ forces aligned respectively with the industrial North (his native Yorkshire) and the cosmopolitan South (his contemporaneous London-based life). Why, in the broader context of the early 1970s, must Lampton’s North be identified with the past? How does materiality work to frame remembrance? The article responds to these questions by mapping the series, along with television culture more generally, onto its socio-political moment. It arrives at conclusions via a constructionist analysis that draws on ‘New Left’ inflected discourses, on the one hand, and philosophies relating to collective memory and materiality on the other.
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来源期刊
Journal of Popular Television
Journal of Popular Television FILM, RADIO, TELEVISION-
CiteScore
0.60
自引率
0.00%
发文量
14
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