Beasts of the Southern Wild
Beasts of the Southern Wild
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南方的野兽
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发表时间：
2013
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通讯作者：
Frederick J. Ruf
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作者：
Frederick J. Ruf
《南方野兽》Beasts of the Southern Wild（2012），导演：Benh Zeitlin本·蔡特林的第一部长篇电影在评论界和公众中产生了相当大的影响，足以收集大量的奖项和提名，其中包括奥斯卡最佳导演和最佳剧本提名。http://digitalcommons.unomaha.edu/jrf/vol17/iss1/30评论一致提到电影的神话品质，这可能会或可能不会给我们这些研究宗教的人留下深刻印象，因为这个术语具有特殊的价值和吸引力。但事实上，这部电影确实提供了许多关于神话和神话制造的深刻见解，它可以成为教学和研究的特殊资源。从表面上看，《野兽》只是一个六岁女孩在卡特里娜飓风中幸存下来的故事，她接受了虐待、酗酒的父亲和失踪的母亲，但这有点像说《吉尔伽美什》只是两兄弟的故事，或者《创世纪》只是中东部落的故事。事实上，这个故事走在平凡与非凡的边缘，走在激发我们焦虑的关注和推动我们超越单纯关注的边缘。《野兽》是一部绝对不会离开混凝土的电影，但也从不允许事实世界成为常识告诉我们的那样。在伊利亚德对神话的定义中，这是一个真实的故事。这部电影最引人注目的是它是如何植根于肮脏。开场镜头是杂草，灌木丛，附近的炼油厂，和一个拖车的家，不应该居住。事实上，它是，由Hushpuppy，六岁的孩子，并形容为摇摇欲坠是低估了国家的解体和崩溃的儿童生活。她的父亲温克（Wink）住在附近一栋类似的建筑里，他和自己的家一样破败不堪，和她说话时也会打哈什小狗。每一个视觉都会诱使人们渴望社会服务或红色1鲁夫：南方野生动物出版的数字共享@UNO，2013年十字架或消毒剂或药品，但这样的反应将是完全不合时宜的电影提供更好的：胡什小狗的愿景和文字。在电影的早期，她把一个巨大的锅做饭，火焰疯狂地爆发，电影中许多破坏的威胁之一。Hushpuppy把她失踪的母亲的肮脏，撕裂的迈克尔乔丹球衣放在一个纸板箱里，画她母亲的图像，好像它是一个拉斯科洞穴。我们并不放心，因为这部电影让我们非常清楚纸板经不起火焰的冲击，但奇怪的是，我们被她的奉献精神和她将希望转化为艺术的诀窍所鼓舞。在这个南方荒野中还有许多其他的野兽：Hushpuppy告诉我们她想象中的野牛，巨大的，长着巨大獠牙的野猪，这在很大程度上又归功于拉斯科。他们一次又一次地威胁，一种世界末日的想象萦绕着这个年轻女孩和她的被抛弃者和流浪者社区。另一个是飓风，席卷一切，在一个无名的，但明确的暗示卡特里娜（电影发生在新奥尔良），并把他们抛在沃茨的鱼，鸟，牛漂浮死亡。还有一种疾病正在杀死Wink，他的死亡就像风暴或野牛一样稳步接近。通过这一切，Hushpuppy做出了有远见的声明，宇宙的解开和宇宙的重要性“恰到好处”。她游到一个漂浮的小酒馆，在那里她和一个可能是她母亲的人跳舞。她面对着冲过来的野牛。她在自己的父亲快死的时候喂他。是小小的哈什小狗用她的智慧和祝福把宇宙拉到了一起。《南方野兽》提出，神话不是来自哲学，不是来自受过教育的人，也不是我们最近所说的百分之一。那些最受欢迎的2宗教与电影杂志，卷。17 [2013]，Iss。第30条：肮脏和仅仅是“碎片”，尤其是最小的碎片，是那些想象超出理智、聪明甚至健康的东西的人。http://digitalcommons.unomaha.edu/jrf/vol17/iss1/30他们激励了其他人
This is a film review of Beasts of the Southern Wild (2012), directed by Benh Zeitlin. This film review is available in Journal of Religion & Film: http://digitalcommons.unomaha.edu/jrf/vol17/iss1/30 Benh Zeitlin’s first feature length film has made quite an impact in critical circles and among the public, sufficient to collect a large number of awards and nominations, among them Academy Award nominations for Best Director and Best Screenplay. Reviews uniformly mention the film’s mythic qualities, which may or may not impress those of us in the study of religion for which the term has particular value and appeal. But, in fact, the film does offer many profound insights into myth and myth-making, and it could become a special resource both for teaching and study. On the surface Beasts is just the story of a six year-old girl surviving a Katrinalike storm, and coming to terms with both an abusive, alcoholic father and a missing mother, but that’s a bit like saying Gilgamesh is just the story of two brothers or Genesis just a tale of Middle Eastern tribes. In fact, the story walks the edge of the ordinary and the extraordinary, of that which elicits our anxious concern and that which propels us beyond mere concern. Beasts is a film that absolutely never leaves sight of the concrete but also never allows the factual world to be what common sense tells us it is. In Eliade’s definition of myth, it’s a true story. What is most striking about the film is how rooted it is in squalor. The opening shot is of weeds, scrub, a nearby oil refinery, and a trailer home that ought not to be inhabited. In fact it is, by Hushpuppy, the six year-old child, and to describe it as ramshackle is to understate the state of disintegration and collapse in which the child lives. Nearby is a similar structure lived in by her father, Wink, a man as broken down as his home and as apt to hit Hushpuppy as to talk to her. All is squalor: there is no shot of beauty in the film. Every visual would tempt one to yearn for social services or the Red 1 Ruf: Beasts of the Southern Wild Published by DigitalCommons@UNO, 2013 Cross or disinfectant or pharmaceuticals, and yet such a response would be entirely out of place for the film offers better: Hushpuppy’s visions and words. Early in the film she puts an enormous pot on to cook, and the flames erupt wildly, one of many threats of destruction in the film. Hushpuppy takes her missing mother’s filthy, torn Michael Jordan jersey inside a cardboard box and draws images of her mother as though it were a cave of Lascaux. We’re not reassured, for the film makes us very aware that cardboard cannot withstand the blast of fire, and yet we’re oddly inspired by her devotion and her knack for turning hope into art. There are many other beasts of this southern wild: Hushpuppy tells us of the aurochs, huge, great-tusked boars in her imagination, owing much to Lascaux again. They threaten again and again, an imagining of the apocalyptic that haunts this young girl and her community of cast-offs and vagabonds. Another is the hurricane that sweeps all away in an unnamed but clear allusion to Katrina (the film takes place in New Orleans) and casts them upon the waters where fish, birds, and cows float dead. There is also a disease that is killing Wink, and his death approaches as steadily as the storm or the aurochs. Through it all Hushpuppy makes visionary pronouncements, of the unraveling of the universe and the importance of the universe fitting together “just right.” She swims to a floating honky-tonk where she dances with someone who just might be her mother. She faces down the charging aurochs. She feeds her own father as he’s dying. It’s tiny Hushpuppy who pulls the universe together, with her wisdom and her imaginings. Beasts of the Southern Wild proposes that myth doesn’t come from philosophy or the educated or what we have recently come to call the one percent. Those most subject 2 Journal of Religion & Film, Vol. 17 [2013], Iss. 1, Art. 30 http://digitalcommons.unomaha.edu/jrf/vol17/iss1/30 to squalor and being just “pieces,” especially the smallest pieces, are the ones who imagine beyond what is sensible or smart or even healthy. And they inspire the rest of