[新聞] 歐巴馬當家，電影卻白化

[sampsonlu919 (NBA爛板主下台)]

新聞來源：http://city.udn.com/50132/4531386?tpno=0&cate_no=0

紐時摘譯：歐巴馬當家，電影卻白化
In Age of Obama, a Film Whiteout

By Manohla Dargis and A. O. Scott

The whiteness of the 2011 Academy Awards is a little blinding.

2011年美國電影學院獎（奧斯卡獎）的白化現象令人有點眼花。

Nine years ago, Denzel Washington and Halle Berry won his and her Oscars –
he was only the second African-American man to win best actor, and she was
the first African-American woman to win best actress.

九年前丹佐華盛頓與荷莉貝瑞拿下奧斯卡獎。他是第二位獲頒最佳男演員獎的黑人
男性，她則是第一位奪得最佳女演員獎的黑人女性。

Real change seemed to have come to movies or at least the Academy, which had
given statuettes to seven black actors in the previous 73 years. (The first,
Hattie McDaniel, won in 1940 for her role as Mammy in “Gone With the Wind.)

電影界似已出現真正的改變，或至少對美國電影學院而言是如此。此前73年，它把
獎項頒給七名黑人演員（1940年，哈蒂麥丹尼爾以《亂世佳人》中飾演的媽咪率先
獲獎）。

It was possible, over much of the past decade, to believe that a few of the
old demons of suspicion and exclusion might finally be laid to rest.

過去10年的許多時候，我們可能認為，有些猜疑與排斥的老惡靈可能終於安息了。

A look back at the American films of 2010 reveals fewer of the kinds of
movies that have propelled black actors, screenwriters and directors into
contention in the recent past. The superhero, fantasy and action genres were
drained of color. The urban dramas were set in Irish-American New England
neighborhoods. Even the male buddy picture, a staple of interracial bonding
since 1958, when Sidney Poitier and Tony Curtis were chained together in “
The Defiant Ones,” has become a largely white-on-white affair.

回顧去年的美國電影，我們會發現，近年讓黑人演員、編劇及導演獲獎有望的那種
電影少了。超級英雄、幻想、動作類電影的黑人消失了。都會電影以愛爾蘭裔美國人
居住的社區為背景。1958年，以男性夥伴為主體的影片開始成為連結不同種族的
媒介。在《逃獄驚魂》中，薛尼鮑迪與湯尼寇蒂斯綁在一起。現在也大致成了白人
搭白人。

Has Hollywood, a supposed bastion of liberalism so eager in 2008 to help
Barack Obama make it to the White House, slid back into its old, timid ways?
Can it be that the president’s status as the most visible and powerful
African-American man in the world has inaugurated a new era of racial
confusion – or perhaps a crisis in representation? Mr. Obama’s complex,
seemingly contradictory identity as both a man (black, white, mixed) and a
politician (right, left, center) has inspired puzzlement among his supporters
and detractors alike.

2008年，被視為自由派重鎮的好萊塢熱情協助歐巴馬進軍白宮。它是否已經恢復以往
的羞怯？歐巴馬總統身為舉世能見度最高、最有權力美國黑人的地位，是否已開啟
種族認同混亂的新紀元？或者這可能是一種代表性的危機？歐巴馬身為男人（黑人、
白人、混血）與政治人物（右派、左派、中間派）複雜而矛盾的身分認同，已使支持
與反對者產生困惑。

American movies helped pave the way for the Obama presidency by popularizing
and normalizing positive images of black masculinity, with actors like Mr.
Poitier and Harry Belafonte playing detectives – even God. But while the
variety of roles for blacks increased, the commercially circumscribed
conservatism of American cinema – with its genre prerogatives and appetite
for uplift, its insistence on archetypes and stereotypes, villains and heroes
– meant that these images tended to fit rather than break the mold.
Certainly this isn’t a cinema that jibes with what, in his 2007 memoir
“Dreams From My Father,” Mr. Obama called “the fluid state of identity.”

美國電影為歐巴馬的總統之路奠基的方法是，推廣黑人男子氣概的正面形象，並使它
正常化。讓演員薛尼鮑迪、哈利貝拉方提等人飾演偵探、法官甚至上帝。黑人飾演的
角色種類誠然增加了，然而美國電影商業受限於保守主義─緊握類型特權，具有不斷
提升的胃口，堅持原型與陳規─意味，電影裡的形象往往只是迎合而不是打破模式。
當然，這種電影並不符合歐巴馬在其2007年回憶錄《歐巴馬的夢想之路》中所說的
「認同的流動狀態」。

But partly because movies remain a top-down, capital-intensive art form, they
have been cautious and apt to cater to rather than to subvert the perceived
prejudices of the audience. In Hollywood race has often been a social problem
to be earnestly addressed (and then set aside), or a marketing challenge. In
the 1960s the studios congratulated themselves for making sober,
correct-thinking dramas that often starred Mr. Poitier in films like “In the
Heat of the Night” and “Guess Who’s Coming to Dinner,” both released in
1967 and which together reaped 17 Oscar nominations.

電影仍然是自上而下且耗費巨資的藝術形式，以致始終曲意迎合而不是推翻觀眾
的偏見。在好萊塢，種族經常是須用心處理（然後拋開）的社會問題或行銷挑戰。
1960年代，電影公司因為拍攝冷靜且思考正確的電影而深自慶幸，例子包括薛尼
鮑迪主演的《惡夜追緝令》及《誰來晚餐》。兩片都在1967年上映，共獲17項
奧斯卡提名。

A few years later, African-Americans began to appear on screen and behind the
camera to an unprecedented extent. Faces and voices that had once been found
only in “race movies” or art-house films by the likes of Shirley Clarke (“
The Cool World”) filtered into the mainstream. There were blaxploitation
hits like “Shaft,” as well as crossover dramas (“Sounder”) and popular
comedies, including the trilogy “Uptown Saturday Night,” “Let’s Do It
Again” and “A Piece of the Action,” directed by Mr. Poitier and starring
him and Bill Cosby. The independent world saw the emergence of off-Hollywood
directors like Charles Burnett, Haile Gerima, Billy Woodberry and Julie Dash.

幾年後，黑人開始大量出現在銀幕上和鏡頭後，規模前所未見。以往只出現在
「種族電影」或藝術電影院的面孔及聲音，開始融入主流，像是雪莉克拉克
（《美女闖通關》）。有以黑人演員為號召的賣座電影，如《黑豹》、混合影片
（《兒子離家時》），以及通俗喜劇，包括三部劇《周六奇妙夜》、《Let's do
it again》、《天才老爹發神威》，由薛尼鮑迪導演，他與比爾寇斯比搭檔演出。
獨立製片界出現查理伯內特、海爾傑里瑪、比爾伍德貝瑞、茱莉戴希等幾位導演。

But race in American film has rarely been a matter of step-by-step progress.
The 1980s were, with a few exceptions, marked as much by racial retrenchment
as by the consolidation of the blockbuster mentality. More hopefully, the end
of that decade ushered in a new generation of black filmmakers, most notably
Spike Lee, who tried to beat the system and then joined it.

然而種族在美國電影裡很少是逐步前進的。除了一些例外，80年代的主要特色是
種族緊縮與巨片心理的鞏固。尤有指望的是，80年代終了出現了新世代的黑人
導演，最有名的是史派克李。他先嘗試擊敗體制，然後加入。

Mr. Lee and the African-American stars who ascended in the 1990s and the
decade that followed – notably Will Smith, Morgan Freeman, Jamie Foxx and of
course Mr. Washington – often had to shoulder the burden of representing
their race even as they pursued their individual ambitions. For the most
part, these stars rode to the top of the box office in stories that did not
address race, while the films that did take the subject on more directly –
like “Ali” and “Dreamgirls” – often did so at a historical safe
distance. It was almost as if, with the ascendancy of individual black stars,
Hollywood no longer felt the need to tell stories about black people as a
group.

史派克李與90年代及此後10年竄起的黑人明星，包括威爾史密斯、摩根費里曼、
傑米福克斯與丹佐華盛頓，往往得在施展抱負之餘，肩負代表族群的重擔。這些
明星登上票房冠軍的電影，故事多未觸及種族問題，更直接探討種族問題的電影，
如《叱吒風雲》與《夢幻女郎》，通常保持安全的歷史距離。情況幾乎變成，個別
黑人明星出了頭，好萊塢也不再覺得該拍些黑人族群的電影。

This retreat partly explains the emergence of a newly separate black cinema
with its own stars (Morris Chestnut, Vivica A. Fox), auteurs (Ice Cube, Tyler
Perry) and genres. The prolific Mr. Perry has become one of the most
successful directors and producers of any color.

這種退卻足以解釋另一類黑人電影興起，且擁有專屬明星（莫里斯柴斯納特、薇薇卡
福克斯）、獨創導演（艾斯庫伯、泰勒派瑞）與多種體例的現象。多產的泰勒派瑞
已是不分種族，最成功的導演兼製片人之一。

Mr. Lee has been among Mr. Perry’s critics. “We’ve got a black president,
and we’re going back,” Mr. Lee said in 2009. “The image is troubling.”

史派克李是泰勒派瑞的批評者之一。他2009年說：「我們有了位黑人總統，如今又走
回頭路。這種形象很糟糕。」

Has the cultural ground shifted and, with the economic crisis, made other
kinds of stories feel more urgent?

文化基礎是否已經轉移？經濟危機下，是否拍其他題材的電影變得更迫切？

It is hard to escape the impression that class made something of a comeback
in 2010. “The Fighter” relates the story of working-class, boxing brothers
from a former Massachusetts mill town. Set in the Ozarks, “Winter’s Bone”
 involves the violent, clannish world of crystal meth producers whose
grandfathers likely ran moonshine.

很難讓人不覺得階級觀念已於去年捲土重來。《燃燒鬥魂》敘述來自曾以磨坊業為主
的麻州某小鎮的勞動階層兄弟打拳的故事。《冰封之心》以奧札克山脈為故事背景，
敘述冰毒生產者充斥暴力的排外世界。他們的祖輩可能做的是私酒買賣。

So is class the new race? The racial complexity of American life seems to
have stymied the collective imagination of the movie industry. For now, only
one film seems capable of acknowledging the ordinary black man. That was Tony
Scott’s “Unstoppable,” starring none other than Denzel Washington.

階級是不是新種族？美國社會的種族複雜性似乎已使電影業的集體想像陷入困境。
目前，似乎只有一部影片能夠標榜一般黑人：湯尼史考特的《煞不住》，同樣又是
丹佐華盛頓擔綱。

------------------------------------------------------------------------------

原文參照：
http://www.nytimes.com/2011/02/13/movies/awardsseason/13movies.html

Slideshow: Race and the Oscar Race
http://tinyurl.com/4a2klya

小評：怪不得我感覺黑人國際巨星有停產的跡象
在威爾史密斯、傑米福克斯都已經超過40歲的情形下
現在只能期待克里斯布朗（就是打蕾哈娜的那一位）與傑登史密斯
能夠被片商看中主演篤定賣座的大片了


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推 lp2348:好文
推 Hastur:推「電影仍然是自上而下且耗費巨資的藝術形式，
→ Hastur:以致始終曲意迎合而不是推翻觀眾的偏見」
推 gn02174082:記得02年那次影帝后好像也被說過不是最眾望所歸，是為
→ gn02174082:了成就同年黑人影帝后這樁美事(且Sidney Poitier也到場
推 diru:那年的大熱門是羅素克洛吧 但外傳是負面新聞(打人?)毀了機會
推 gn02174082:似乎是因為BAFTA製作人剪短他的得獎致詞而動手
→ gn02174082:http://0rz.tw/J5uN8
推 orzisme:在英學院獎頒獎後台直接揍人也太沒自覺了
→ hawardhsz:黑人又出來說被歧視了嗎?就自己表現不搶眼要怪誰?
→ hawardhsz:少拍一些沒營養的片:big mamas,Tylet Perry's Madea.etc
→ hawardhsz:前幾年不是都有黑人入圍:Precious,班傑明養母,Viola D.
→ hawardhsz:才一年沒有黑人入圍就出來哭了 受不了這種心態
→ sampsonlu919:不過不可否認的是上面幾部的演員 號召力都不夠吧
→ sampsonlu919:班傑明明顯在賣比特 誘惑的主打點是三大卡司
→ sampsonlu919:Precious甚至是到了多倫多影展才提高能見度的
推 a9a99:才一年而已~奧斯卡也是要就事論事 黑人不能有保障名額吧~
推 c7683fh6:這讓我想起摩根費里曼飾演上帝
→ iamserene:這篇文讓我想到南方公園....
推 meauw:南方?
→ iamserene:我們都有黑人總統了 你怎麼可以xxxx呢 結論:種族歧視..
推 l9B1:我覺得這新聞有點愛幻想吧
推 l9B1:推樓上
→ airmike:這種論點實在聽不下去 剛好黑人演員大咖沒有好代表作...
推 mysmalllamb:這種論點不是不能說, 不過最好舉一些實例出來, 就算是
→ mysmalllamb:捕風捉影的實例也好, 才有點說服力.
→ anabiosis:說是因為黑人演員自己表現不搶眼沒代表作太不公平了
→ anabiosis:請問今天如果你是電影公司高層 你要開拍一部商業大片
→ anabiosis:你會提拔白人帥哥還是黑人帥哥?
→ anabiosis:這種問題很尖銳也很不好談 不能這樣一句話帶過
→ davidmarryme:同意樓上， 沒出現黑人演員新銳固然有可能是人才不足
→ davidmarryme:但是也有可能是機會不多
推 BarackObama:really??
推 anabiosis:附加一點 而且黑人女性的機會又比黑人男性的機會少多了
推 edd740404:真的有可能是黑人演員機會不多。
推 Mrlaba:電影公司高層是白人還是黑人居多?
推 gn02174082:記得歐巴馬在NAACP的演講叫大家不要去當entertainer XD
推 goodcial:單就外型,白人就比黑人討喜很多,這個是改變不了的事實
→ goodcial:像威爾史密斯這麼帥,百年難得一見啊! 30ROCK好像還有演過
→ goodcial:一小段,說白人把威爾史密斯搶走(大概),很酸!
→ killer2:黑人帥哥美女不是沒有,是高層不會看.電視圈常看到黑美人跑
→ killer2:龍套,超級搥心肝.黑帥的話我期待ALDIS HODGES,至少在電視
→ killer2:圈應該有他一席之地
推 nukuu:威爾史密斯演了太多無聊電影
推 asagi777:在這個關鍵時刻搬出種族主義來才是比較奇怪的，何況扯到
→ asagi777:歐巴馬更是沒甚麼道理，難道歷年奧斯卡黑人得獎跟總統是
→ asagi777:不是黑人有正相關嗎? 這未免炒作議題太刻意了些。
推 meauw:好文 借轉
※ meauw:轉錄至看板 HatePolitics                                   02/27 02:13
推 damnedfish:簡直是廢文，這跟歐巴馬有任何關係嗎？
推 amuro0126:推 Spike Lee 關懷黑人議題 拍出來的片也不差!