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引用次数: 1
摘要
在导演克莱伯·门多尼拉·菲尔霍(Kleber mendon a Filho)执导的《邻近的声音》(2012)的前几分钟,以超现实的声音为标志的照片代表了一种审美选择,描述了巴西殖民时期的奴隶制经历如何在巴西东北部的当代社区中实现。本文通过揭示种族化过程和种族主义导致的暴力不可避免的印象,研究奥索姆·奥雷多是如何与吉尔伯托·弗雷尔的理论相结合的。通过声音化(一种打破叙事动作的时间和空间限制的资源),这部电影介入了围绕种族主义的两极分化辩论,并使批评巴西种族和谐的混血儿的霸权解读成为可能。通过一种唤起恐怖类型的声音设计,并将倾听作为一种种族化行为,O som ao redor挑战了以视觉为中心的种族民主神话和排他的阶级主义意识形态。
In the early minutes of O som ao redor (Neighboring Sounds, 2012), by director Kleber Mendonça Filho, photographs marked by extradiegetic sounds represent an aesthetic choice that describes how the experience of slavery in colonial Brazil actualizes its effects in a contemporary neighborhood of Northeastern Brazil. This article investigates how O som ao redor engages with Gilberto Freyre’s theories by exposing racialization processes and the impression that violence resulting from racism is inevitable. Through acousmatization, a resource that destabilizes the temporal and spatial limits of diegetic action, this film intervenes in a polarized debate around racism and makes it possible to criticize the hegemonic reading of miscegenation as the visual representation of racial harmony in Brazil. With a sound design that invokes the genre of terror and proposes listening as a racializing act, O som ao redor challenges the ocularcentric myth of racial democracy and the ideology of exclusivist classism.
期刊介绍:
Luso-Brazilian Review publishes interdisciplinary scholarship on Portuguese, Brazilian, and Lusophone African cultures, with special emphasis on scholarly works in literature, history, and the social sciences. Each issue of the Luso-Brazilian Review includes articles and book reviews, which may be written in either English or Portuguese.