{"title":"握握手种族幻想、白人救世主和《被解救的姜戈》的鬼魅银幕","authors":"Sarah Hagelin","doi":"10.1111/jpcu.13251","DOIUrl":null,"url":null,"abstract":"<p>This essay offers a critical re-assessment of the character King Schultz (Christoph Waltz) in Quentin Tarantino's <i>Django Unchained</i> (2012), reading the film as a cautionary tale about the danger proximity to whiteness poses for Black subjects. For all of its hyperbolic violence and linguistic excess, <i>Django Unchained</i> asks important questions about the way American popular culture structures stories of African American freedom around the trope of interracial friendship. In doing so, it reveals the problem at the heart of white identity-making in US popular culture and unmasks its complicity in violence against Black bodies.</p>","PeriodicalId":46552,"journal":{"name":"Journal of Popular Culture","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2023-11-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Shake my hand: Racial fantasies, white saviors, and Django Unchained's haunted screen\",\"authors\":\"Sarah Hagelin\",\"doi\":\"10.1111/jpcu.13251\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<p>This essay offers a critical re-assessment of the character King Schultz (Christoph Waltz) in Quentin Tarantino's <i>Django Unchained</i> (2012), reading the film as a cautionary tale about the danger proximity to whiteness poses for Black subjects. For all of its hyperbolic violence and linguistic excess, <i>Django Unchained</i> asks important questions about the way American popular culture structures stories of African American freedom around the trope of interracial friendship. In doing so, it reveals the problem at the heart of white identity-making in US popular culture and unmasks its complicity in violence against Black bodies.</p>\",\"PeriodicalId\":46552,\"journal\":{\"name\":\"Journal of Popular Culture\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2023-11-10\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Popular Culture\",\"FirstCategoryId\":\"90\",\"ListUrlMain\":\"https://onlinelibrary.wiley.com/doi/10.1111/jpcu.13251\",\"RegionNum\":4,\"RegionCategory\":\"社会学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q4\",\"JCRName\":\"CULTURAL STUDIES\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Popular Culture","FirstCategoryId":"90","ListUrlMain":"https://onlinelibrary.wiley.com/doi/10.1111/jpcu.13251","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"CULTURAL STUDIES","Score":null,"Total":0}
引用次数: 0
摘要
本文对昆汀-塔伦蒂诺（Quentin Tarantino）导演的《被解救的姜戈》（Django Unchained，2012 年）中的舒尔茨国王（克里斯托夫-瓦尔兹 Christoph Waltz 饰）一角进行了批判性的重新评估，将该片解读为一个警示故事，告诉人们接近白人会给黑人带来危险。尽管《被解救的姜戈》有着夸张的暴力和过激的语言，但它提出了一些重要问题，即美国大众文化是如何围绕着异族友谊这一特例来构建非裔美国人的自由故事的。这样一来，它揭示了美国大众文化中白人身份制造的核心问题，并揭露了其对黑人身体施暴的共谋。
Shake my hand: Racial fantasies, white saviors, and Django Unchained's haunted screen
This essay offers a critical re-assessment of the character King Schultz (Christoph Waltz) in Quentin Tarantino's Django Unchained (2012), reading the film as a cautionary tale about the danger proximity to whiteness poses for Black subjects. For all of its hyperbolic violence and linguistic excess, Django Unchained asks important questions about the way American popular culture structures stories of African American freedom around the trope of interracial friendship. In doing so, it reveals the problem at the heart of white identity-making in US popular culture and unmasks its complicity in violence against Black bodies.
期刊介绍：
The popular culture movement was founded on the principle that the perspectives and experiences of common folk offer compelling insights into the social world. The fabric of human social life is not merely the art deemed worthy to hang in museums, the books that have won literary prizes or been named "classics," or the religious and social ceremonies carried out by societies" elite. The Journal of Popular Culture continues to break down the barriers between so-called "low" and "high" culture and focuses on filling in the gaps that a neglect of popular culture has left in our understanding of the workings of society.
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