{"title":"捕食者的猎物:在 SVOD 时代重塑土著代表和好莱坞特许经营电影","authors":"César Albarrán-Torres, Andrew Lynch","doi":"10.1111/jpcu.13334","DOIUrl":null,"url":null,"abstract":"<p>Hulu's <i>Prey</i> (2022), the fifth installment of the <i>Predator</i> franchise, is set in 1719 and features a Comanche female protagonist. The setting is unlike the 1987 <i>Predator</i> and its sequels, with their hardbody machismo and conservative politics. We argue that <i>Prey</i> is a small but significant step in Hollywood, but its inclusivity comes at a price. Though praised as progressive, it perpetuates a worldview in which Native Americans are ‘noble savages’ and processes of colonial dispossession are framed as quasi-natural occurrences. <i>Prey</i> provides clues on the future of franchises in terms of how minority histories and subjectivities are represented.</p>","PeriodicalId":46552,"journal":{"name":"Journal of Popular Culture","volume":"57 3","pages":"175-188"},"PeriodicalIF":0.2000,"publicationDate":"2024-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/jpcu.13334","citationCount":"0","resultStr":"{\"title\":\"Predator's Prey: Reframing indigenous representation and Hollywood franchise cinema in the age of SVOD\",\"authors\":\"César Albarrán-Torres, Andrew Lynch\",\"doi\":\"10.1111/jpcu.13334\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<p>Hulu's <i>Prey</i> (2022), the fifth installment of the <i>Predator</i> franchise, is set in 1719 and features a Comanche female protagonist. The setting is unlike the 1987 <i>Predator</i> and its sequels, with their hardbody machismo and conservative politics. We argue that <i>Prey</i> is a small but significant step in Hollywood, but its inclusivity comes at a price. Though praised as progressive, it perpetuates a worldview in which Native Americans are ‘noble savages’ and processes of colonial dispossession are framed as quasi-natural occurrences. <i>Prey</i> provides clues on the future of franchises in terms of how minority histories and subjectivities are represented.</p>\",\"PeriodicalId\":46552,\"journal\":{\"name\":\"Journal of Popular Culture\",\"volume\":\"57 3\",\"pages\":\"175-188\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2024-04-25\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://onlinelibrary.wiley.com/doi/epdf/10.1111/jpcu.13334\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Popular Culture\",\"FirstCategoryId\":\"90\",\"ListUrlMain\":\"https://onlinelibrary.wiley.com/doi/10.1111/jpcu.13334\",\"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.13334","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
Hulu 出品的《猎物》(2022 年)是《掠食》系列电影的第五部,故事背景设定在 1719 年,女主角是科曼奇人。这一背景与 1987 年的《掠食》及其续集的硬汉大男子主义和保守政治不同。我们认为,《猎物》是好莱坞迈出的一小步,但意义重大,但其包容性是有代价的。尽管该片被称赞为进步之作,但它却延续了一种世界观,即美国原住民是 "高贵的野蛮人",殖民掠夺的过程被定格为准自然现象。猎物》在如何表现少数民族历史和主体性方面为特许经营的未来提供了线索。
Predator's Prey: Reframing indigenous representation and Hollywood franchise cinema in the age of SVOD
Hulu's Prey (2022), the fifth installment of the Predator franchise, is set in 1719 and features a Comanche female protagonist. The setting is unlike the 1987 Predator and its sequels, with their hardbody machismo and conservative politics. We argue that Prey is a small but significant step in Hollywood, but its inclusivity comes at a price. Though praised as progressive, it perpetuates a worldview in which Native Americans are ‘noble savages’ and processes of colonial dispossession are framed as quasi-natural occurrences. Prey provides clues on the future of franchises in terms of how minority histories and subjectivities are represented.
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.