Spoofin’ Spidey—Rebooting the Bat: Immersive Story Worlds and the Narrative Complexities of Video Spoofs in the Era of the Superhero Blockbuster
Spoofin’ Spidey—Rebooting the Bat: Immersive Story Worlds and the Narrative Complexities of Video Spoofs in the Era of the Superhero Blockbuster
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Spoofinâ SpideyâRebooting the Bat：超级英雄大片时代的沉浸式故事世界和视频恶搞的叙事复杂性
DOI：
10.1057/9781137263353_13
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发表时间：
2012
期刊：
影响因子：
--
通讯作者：
Daniel
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文献类型：
--
作者：
Daniel
（Christopher Nolan，2005）贝尔将这部新版本作为一部与早期电影《蝙蝠侠》有很大不同的作品进行宣传，他表示希望将《蝙蝠侠前传》中重新启动的、更黑暗、更神秘的主角与凯恩的作者视野联系起来，也许是为了强调这部电视剧与导演乔尔·舒马赫的两部蝙蝠侠电影的明显背离。（《永远的蝙蝠侠》，1995年;《蝙蝠侠与罗宾》，1997年）已经为新一代观众更新了。贝尔指出，《蝙蝠侠开始》“是鲍勃·凯恩第一次创作这个角色时的意图。我和他的妻子谈过，她说当这部（20世纪60年代）电视剧恶搞他的意图时，他感到震惊。见Gordon et al. viii）。凯恩将他的“权威性”蝙蝠侠和ABC的电视连续剧区分为“奇妙的恶搞”，贝尔将该系列理解为违反凯恩作者意图的恶搞，这引发了关于叙事和话语权威的问题：谁可以作者身份进入特定超级英雄的虚构宇宙并讲述涉及这些标志性人物的故事？谁来决定哪些故事是一个系列的合法延续，哪些是非法的，或者至少是不确定的，恶搞？在最近将“超级英雄漫画美学”扩展到“更广泛的文化意识”（Ndalianis 4），包括将漫画超级英雄转化为好莱坞电影的过程中，戏仿和恶搞扮演了什么角色？[2] John Cawelti认为，戏仿的扩散表明了一种类型的最终枯竭阶段：人们几乎可以看出一个类型的生命周期特征，从最初的表达和发现阶段，经过创作者和观众有意识的自我意识阶段，到通用模式变得如此众所周知，以至于人们厌倦了它们的可预测性。正是在这一点上，戏仿和讽刺的处理激增，新的体裁逐渐出现。（二百人）
(Christopher Nolan, 2005) reveals. Promoting this new release as a work that differed substantially from earlier filmic incarnations of Batman, Bale expressed a desire to tie the rebooted, darker and more mysterious, protagonist of Batman Begins to Kane’s authorial vision, perhaps in order to emphasize the marked departure from the campy aesthetics for which the television series had come to be known and which director Joel Schumacher’s two Batman movies (Batman Forever, 1995; Batman & Robin, 1997) had updated for a new generation of viewers. Batman Begins, Bale noted,“is what Bob Kane intended when he first created the character.... I spoke with his wife, and she said that he was appalled when the (1960s) TV series spoofed what he had intended”(qtd. in Gordon et al. viii). 1 Kane’s distinction between his “definitive” Batman and ABC’s television series as a “marvelous spoof” and Bale’s understanding of the series as a spoof that violated Kane’s authorial intentions raise questions about narrative and discursive authority: who can authoritatively enter the fictional universe of specific superheroes and tell stories involving these iconic characters? Who determines which stories are legitimate continuations of a series and which are illegitimate, or at least non-definitive, spoofs? And what role have parodies and spoofs played in the recent extension of “the superhero comic book aesthetic” into “the wider cultural consciousness”(Ndalianis 4), including the transmediation of comic book superheroes into Hollywood cinema? 2 John Cawelti has suggested that a proliferation of parodies indicates a genre’s stage of final exhaustion:One can almost make out a life cycle characteristic of genres as they move from an initial period of articulation and discovery, through a phase of conscious self-awareness on the part of both creators and audiences, to a time when the generic patterns have become so wellknown that people become tired of their predictability. It is at this point that parodic and satiric treatments proliferate and new genres gradually arise.(200)
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