詹姆斯·卡梅隆的《阿凡达》和《白猎人的电影遗产》

IF 0.5 3区艺术学 0 FILM, RADIO, TELEVISION

JOURNAL OF POPULAR FILM AND TELEVISION Pub Date : 2021-04-03 DOI:10.1080/01956051.2020.1870427

Hosein Jalilvand

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引用次数: 0

摘要

摘要:本文探讨了白猎人在好莱坞不同时期、不同类型电影中的典型形象，并在詹姆斯·卡梅隆的《阿凡达》(2009)中描绘了这一殖民时代的偶像形象。在对狩猎电影类型的重新定义中，《阿凡达》在一个模拟的外星幻想世界中嵌入了非洲野生动物的殖民隐喻，在那里，关于非洲野生动物的“生态浪漫主义”后殖民制作规范不再适用，让主角杰克·萨利(Jake Sully)重现了殖民时期的大型狩猎之旅，并在一个人造非洲中恢复了他的白人狩猎男子气概。在这样做的过程中，这部电影重塑并宣传了一些殖民时代的英雄和主题在今天的流行文化中的接受程度。

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James Cameron’s Avatar and the Filmic Legacy of the White Hunter

ABSTRACT: This article explores the representation of the White Hunter as an archetypal figure across different periods and genres in Hollywood, mapping the legacy of this colonial icon in James Cameron’s Avatar (2009). In its redefinition of the safari film genre, Avatar embeds colonial tropes of wild Africa in an alien fantasy world of simulations, where the “eco-romantic” postcolonial production codes regarding African wildlife cease to apply, allowing Jake Sully, the protagonist, to reenact a colonial big-game safari and rehabilitate his white hunting masculinity in an artificial Africa. In doing so, the film rebrands and propagates the acceptance of a number of colonial heroes and themes of yore in today’s popular culture.

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来源期刊

JOURNAL OF POPULAR FILM AND TELEVISION FILM, RADIO, TELEVISION-

CiteScore

0.60

自引率

0.00%

发文量

期刊介绍： How did Casablanca affect the home front during World War II? What is the postfeminist significance of Buffy the Vampire Slayer? The Journal of Popular Film and Television answers such far-ranging questions by using the methods of popular culture studies to examine commercial film and television, historical and contemporary. Articles discuss networks, genres, series, and audiences, as well as celebrity stars, directors, and studios. Regular features include essays on the social and cultural background of films and television programs, filmographies, bibliographies, and commissioned book and video reviews.