“你真的可以让故事成为你自己的”:拿回糖果人

IF 0.3 0 HUMANITIES, MULTIDISCIPLINARY Humanities (Basel, Switzerland) Pub Date : 2023-09-18 DOI:10.3390/h12050103
Marco Petrelli
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引用次数: 0

摘要

本文对伯纳德·罗斯1992年的《糖果人》和妮娅·达科斯塔执导的2021年续集进行了比较分析。通过哥特研究、叙事学和批判种族理论的互文方法,本文展示了达科斯塔的电影如何与它的前身建立起一种变革的关系。在2021年的电影中,《糖果人》改写了原著的故事,打破了对黑人的刻板印象,并利用恐怖类型来表达当代非裔美国人生活的特殊焦虑。在这样做的过程中,达科斯塔的电影也挑战了可怕的黑人的经典哥特式比喻,同时推翻了关于种族的主流叙事,为通过黑人镜头过滤的美国种族关系的讨论夺回了空间。
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“You Can Really Make the Story Your Own”: Taking Back Candyman
This essay offers a comparative analysis of Bernard Rose’s 1992 Candyman and its 2021 sequel directed by Nia DaCosta. Through an intertextual approach informed by gothic studies, narratology, and critical race theory, the essay shows how DaCosta’s film establishes a transformative relationship with its predecessor. In the 2021 film, Candyman rewrites the story of the original, disrupts its stereotypical representation of Blackness, and appropriates the horror genre to give voice to the peculiar anxieties of contemporary African American life. In so doing, DaCosta’s film also challenges classic gothic tropes of horrific Blackness while at the same time pushing back against dominant narratives on race to reclaim space for a discussion on racial relations in America filtered through a Black lens.
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