神奇动物和美国怀旧的危险

Signe Cohen
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引用次数: 0

摘要

摘要:乍一看,大卫·耶茨2016年的奇幻电影《神奇动物在哪里》似乎是怀旧电影的典范,弗雷德里克·詹姆森认为这是后现代的模仿,只是通过场景和服装等表面细节模仿过去。《神奇动物》以1926年的纽约为背景,唤起了咆哮的二十年代的优雅和诱惑。这部电影唤起了一个理想化的过去,通过“魔法”的镜头重新呈现为一个所有社会、种族和性别差异都被抹去的地方。《神奇动物》表达了对理想化的过去时代的强烈文化向往,同时将当代对自由、平等、保护和生态的关注叠加在过去。然而,我认为《神奇动物》不仅仅是将怀旧作为一种表面策略来创造电影吸引力。在这部电影的自我反射结构中,嵌入了对怀旧本身的更深层次的分析,既有反思性的后现代模式,也有充满政治和宗教色彩的恢复性怀旧。
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Fantastic Beasts and the Dangers of American Nostalgia
Abstract:At first glance, David Yates's 2016 fantasy film Fantastic Beasts and Where to Find Them appears to exemplify the nostalgic cinema that Fredric Jameson dismisses as postmodern pastiche that merely imitates the past through superficial details such as setting and costumes. Set in New York in 1926, Fantastic Beasts evokes the elegance and allure of the Roaring Twenties. The film invokes an idealized past, re-presented through the lens of "magic" as a place where all social, racial, and gendered differences have been erased. Fantastic Beasts articulates a powerful cultural yearning for an idealized bygone era while superimposing contemporary concerns about liberty, equality, preservation, and ecology on the past. I argue, however, that Fantastic Beasts does not merely use nostalgia as a surface strategy to create cinematic allure. Embedded in the film's self-reflexive structure is a deeper analysis of nostalgia itself, both in its reflective postmodern mode and in the form of a politically and religiously charged restorative nostalgia.
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来源期刊
Journal of Religion and Popular Culture
Journal of Religion and Popular Culture Arts and Humanities-Religious Studies
CiteScore
0.30
自引率
0.00%
发文量
27
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