窗帘的认识论:《雨中曲》和《对不起打扰你》中的性、声音和团结

IF 0.2 4区社会学 Q4 CULTURAL STUDIES

Cultural Critique Pub Date : 2023-08-26 DOI:10.1353/cul.2023.a905073

B. Honig

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引用次数: 0

摘要

摘要:《雨中曲》(多南和凯利，1952年)和《对不起打扰你》(博茨·莱利，2018年)有一个共同的主线:一个(大部分)是表演，另一个颠覆了“幕的认识论”。窗帘是声音研究声学对象的标志，它是一个具有鉴赏力的形象，但Sorry让它变得奇怪，它将辛格的戴着窗帘的夫妇与一群人区分开来，并突出，甚至可能是修复，卡罗尔·克洛弗(Carol Clover)在《辛格》(Singin)中首次追踪的舞蹈盗窃。二十世纪早期哈莱姆的黑人舞蹈家们，通常没有报酬，也没有名声，在《对不起》中以卡什·格林第一次在男厕所遇到的装备者的身份复仇归来。如果说谢弗把毕达哥拉斯称为声音研究的代表人物，那么声音研究的奇异帷幕倒更应该叫潘。

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Epistemology of the Curtain: Sex, Sound, and Solidarity in Singin' in the Rain and Sorry to Bother You

Abstract:Singin' in the Rain (Donen and Kelly, 1952) and Sorry to Bother You (Boots Riley, 2018) carry a common thread: one (mostly) enacts and the other subverts the "epistemology of the curtain." The curtain, iconic to sound studies' acousmatic sound objects, is a figure of forensic knowing, but Sorry queers it, decentering Singin's curtained couples with a crowd and highlighting, maybe even repairing, the raced dance theft that Carol Clover first traced in Singin'. Harlem's Black Hoofers of early twentieth-century dance, usually unremunerated and uncredited, return with a vengeance in Sorry as the equisapiens that Cash Green first encounters in a men's room. Where Schaeffer named Pythagoras as a figure for sound studies, the queered curtain of sound studies might call, rather, for Pan.

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来源期刊

Cultural Critique Multiple-

CiteScore

0.50

自引率

0.00%

发文量

期刊介绍： Cultural Critique provides a forum for international and interdisciplinary explorations of intellectual controversies, trends, and issues in culture, theory, and politics. Emphasizing critique rather than criticism, the journal draws on the diverse and conflictual approaches of Marxism, feminism, psychoanalysis, semiotics, political economy, and hermeneutics to offer readings in society and its transformation.