{"title":"枪支暴力、现象现实与平行世界——克里斯蒂娜·卡拉斯在《彩虹实验》中的多主角叙事","authors":"M. Riggio","doi":"10.1386/JOSC_00045_1","DOIUrl":null,"url":null,"abstract":"The second film in writer–director Christina Kallas’s New York trilogy, which includes 42 Seconds of Happiness (2016) and Paris is in Harlem (forthcoming), The Rainbow Experiment (2018) portrays the powerful but flawed American experiment. Its script chronicles the desires and tawdry failures of teachers, administrators, parents and students of many hues, ethnicities and gender preferences tearing at each other on one horrific day, beginning with an explosion and ending with a double shooting – or so it seems. The implication is that gun violence has become so familiar that it almost fades into the background of collective despair. However, with a world-view that recalls David Lynch and a narrative that imbeds this school saga within its densely urban setting, Kallas counters the seemingly inevitable choices available in this fractured system. An evolving alternative scenario rests its faith on the arrogant but potentially redemptive young. The comically inflected, tragic linear story is scripted in non-linear flashbacks, crosscuts and elaborate split-screens. The film provides portals to an internal reality that posits that life choices, like a movie plot, can be reversed. Overall, The Rainbow Experiment reinforces Kallas’s emergence as a potent and bold voice, redefining and recontextualizing modern film genres.","PeriodicalId":41719,"journal":{"name":"Journal of Screenwriting","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Gun violence, phenomenal reality and parallel worlds: Christina Kallas’s multi-protagonist narratives in The Rainbow Experiment\",\"authors\":\"M. Riggio\",\"doi\":\"10.1386/JOSC_00045_1\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The second film in writer–director Christina Kallas’s New York trilogy, which includes 42 Seconds of Happiness (2016) and Paris is in Harlem (forthcoming), The Rainbow Experiment (2018) portrays the powerful but flawed American experiment. Its script chronicles the desires and tawdry failures of teachers, administrators, parents and students of many hues, ethnicities and gender preferences tearing at each other on one horrific day, beginning with an explosion and ending with a double shooting – or so it seems. The implication is that gun violence has become so familiar that it almost fades into the background of collective despair. However, with a world-view that recalls David Lynch and a narrative that imbeds this school saga within its densely urban setting, Kallas counters the seemingly inevitable choices available in this fractured system. An evolving alternative scenario rests its faith on the arrogant but potentially redemptive young. The comically inflected, tragic linear story is scripted in non-linear flashbacks, crosscuts and elaborate split-screens. The film provides portals to an internal reality that posits that life choices, like a movie plot, can be reversed. Overall, The Rainbow Experiment reinforces Kallas’s emergence as a potent and bold voice, redefining and recontextualizing modern film genres.\",\"PeriodicalId\":41719,\"journal\":{\"name\":\"Journal of Screenwriting\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2021-03-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Screenwriting\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1386/JOSC_00045_1\",\"RegionNum\":4,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Screenwriting","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/JOSC_00045_1","RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
Gun violence, phenomenal reality and parallel worlds: Christina Kallas’s multi-protagonist narratives in The Rainbow Experiment
The second film in writer–director Christina Kallas’s New York trilogy, which includes 42 Seconds of Happiness (2016) and Paris is in Harlem (forthcoming), The Rainbow Experiment (2018) portrays the powerful but flawed American experiment. Its script chronicles the desires and tawdry failures of teachers, administrators, parents and students of many hues, ethnicities and gender preferences tearing at each other on one horrific day, beginning with an explosion and ending with a double shooting – or so it seems. The implication is that gun violence has become so familiar that it almost fades into the background of collective despair. However, with a world-view that recalls David Lynch and a narrative that imbeds this school saga within its densely urban setting, Kallas counters the seemingly inevitable choices available in this fractured system. An evolving alternative scenario rests its faith on the arrogant but potentially redemptive young. The comically inflected, tragic linear story is scripted in non-linear flashbacks, crosscuts and elaborate split-screens. The film provides portals to an internal reality that posits that life choices, like a movie plot, can be reversed. Overall, The Rainbow Experiment reinforces Kallas’s emergence as a potent and bold voice, redefining and recontextualizing modern film genres.
期刊介绍:
The Journal of Screenwriting aims to explore the nature of writing for the moving image in the broadest sense, highlighting current academic thinking around scriptwriting whilst also reflecting on this with a truly international perspective and outlook. The journal will encourage the investigation of a broad range of possible methodologies and approaches to studying the scriptwriting form, in particular: the history of the form, contextual analysis, the process of writing for the moving image, the relationship of scriptwriting to the production process and how the form can be considered in terms of culture and society. The journal also aims to encourage research in the field of screenwriting and the linking of scriptwriting practice to academic theory, and to support and promote conferences and networking events on this subject.