Slaves on Screen: Film and Historical Vision
Slaves on Screen: Film and Historical Vision
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银幕上的奴隶：电影与历史视野
DOI：
10.2307/3097310
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发表时间：
2000
期刊：
影响因子：
--
通讯作者：
N. Z. Davis
中科院分区：
文献类型：
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作者：
N. Z. Davis
书面文字和眼睛所能看到的是在这个迷人的进军到通过电影的现代媒介对奴隶制的抵抗描绘在一起。戴维斯的《马丁·盖尔的归来》一书是在她担任法国同名电影顾问时写的。她现在要解决的一个大问题是，电影业如何在跨越四代人的五部主要电影中描绘奴隶。电影以一种有效和有意义的方式叙述历史过去的潜力，坚持忠于证据，在五部电影中进行了评估：“斯巴达克斯”（1960年），“燃烧！《最后的晚餐》（1976）、《友谊》（1997）和《宠儿》（1998）。戴维斯展示了编剧和导演的观点是如何与历史学家的观点相平行的。《斯巴达克斯》是两极分化的社会历史;加勒比地区的电影将仪式和狂欢节与起义的起源联系起来;《友谊》和《宠儿》利用了奴隶制记忆中的创伤和治愈这些创伤的资源。在每一个案例中，戴维斯都会考虑电影制作人的意图，并通过历史证据和解释来评估电影及其技术。家庭的连续性是反对奴隶制斗争中的一个主要因素。《银幕上的奴隶》一书部分是根据对《宠儿》的作者、诺贝尔文学奖得主托尼莫里森和《最后的晚餐》的历史顾问曼纽尔·莫雷诺·弗拉基纳尔斯的采访改编的。戴维斯为历史电影带来了一种新的方法，作为关于过去的“思想实验”的来源。虽然这五部电影有时是电影的胜利，其中真实的历史激发了想象力，但戴维斯对虚构的场景和角色持批评态度，因为它们在重要方面误导了观众。好历史造就好电影。
The written word and what the eye can see are brought together in this fascinating foray into the depiction of resistance to slavery through the modern medium of film. Davis, whose book "The Return of Martin Guerre" was written while she served as consultant to the French film of the same name, now tackles the large issue of how the moving picture industry has portrayed slaves in five major motion pictures spanning four generations. The potential of film to narrate the historical past in an effective and meaningful way, with insistence on loyalty to the evidence, is assessed in five films: "Spartacus" (1960), "Burn!" (1969), "The Last Supper" (1976), "Amistad" (1997), and "Beloved" (1998). Davis shows how shifts in the viewpoints of screenwriters and directors parallel those of historians. Spartacus is polarized social history; the films on the Caribbean bring ceremony and carnival to bear on the origins of revolt; "Amistad" and "Beloved "draw upon the traumatic wounds in the memory of slavery and the resources for healing them. In each case Davis considers the intentions of filmmakers and evaluates the film and its techniques through historical evidence and interpretation. Family continuity emerges as a major element in the struggle against slavery. "Slaves on Screen" is based in part on interviews with the Nobel prize-winning author of "Beloved," Toni Morrison, and with Manuel Moreno Fraginals, the historical consultant for "The Last Supper." Davis brings a new approach to historical film as a source of "thought experiments" about the past. While the five motion pictures are sometimes cinematic triumphs, with sound history inspiring the imagination, Davis is critical of fictive scenes and characters when they mislead viewers in important ways. Good history makes good films.