Favelas and the aesthetics of realism: Representations in film and literature
Favelas and the aesthetics of realism: Representations in film and literature
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贫民窟和现实主义美学：电影和文学中的表现
DOI：
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发表时间：
2004
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影响因子：
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通讯作者：
Beatriz Jaguaribe
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作者：
Beatriz Jaguaribe
这些贫民窟坐落在俯瞰里约热内卢海滩的山上，在S圣保罗的边缘水平伸展，或者面对萨尔瓦多被污水堵塞的泻湖，是巴西城市生活的一个压倒性特征。贫民窟和城市之间的矛盾关系构成了巴西城市经历的一个关键问题，因为它们解释了现代大都市的期望如何既受挫又部分实现。他们之所以失败，是因为作为获得商品和服务的途径的现代性的物质承诺，已经被贫富之间的根本经济和社会不平等所破坏。然而，它们之所以颁布，也是因为现代化的城市情景是创造新形式的社会认同、民主斗争和个人社会流动的关键场所。这些贫民窟既是“国家想象社区”的中心，也是现代性景观上的“可怕污点”，经常被比喻为巴西现代化水平参差不齐的象征。作为桑巴舞社区创作狂欢歌词的贫民窟的庆祝版本与武装青少年在毒品突袭期间枪杀警察部队的图像并存。自1980年代以来，全球化的毒品贸易以及媒体形象、消费品和新的文化特性的流动所造成的社会暴力的增加，造成了“国家想象的社区”的代表危机。事实上，媒体的压倒性存在主要集中在电视上，全球化消费品、生活方式和政治议程的流通改变了人们的期望和文化特性。这种转变在青年文化的发明中得到了敏锐的感受，在里约热内卢和S等贫民窟，这种曾经的民族桑巴已经失去了很大程度上的影响力，被放克和嘻哈所取代。随着巴西以前的国家肖像变得越来越支离破碎，全球化贫民窟的图像和叙事应运而生。以前关于国家认同的叙述和形象的磨损也使媒体和流行文化塑造的新文化图标成为聚光灯下的焦点。在这些变化之后，当代文学和电影作品正试图接受
Perched on the mountains overlooking the beaches of Rio, sprawling horizontally at the edges of São Paulo, or facing the sewage-choked lagoons in Salvador, favelas are an overwhelming feature of city life in Brazil. The contradictory relations between the favela and the city constitute a key issue of the Brazilian urban experience because they translate how the expectations of the modern metropolis have been both frustrated and partially fulfilled. They have been defeated because the material promise of modernity as access to goods and services has been undermined by the radical economic and social inequality between the rich and the poor. Yet, they have been enacted also because the modernizing urban scenario is a crucial site for the invention of new forms of social identity, democratic struggle and individual social mobility. Cast as both the locus of the ‘national imagined community’ and as a ‘fearful stain’ on the landscape of modernity, the favelas were often metaphorized as an emblem of Brazil’s uneven modernization. Celebratory versions of the favela as a samba community composing carnival lyrics coexist with images of armed adolescents shooting police forces during drug raids. Since the 1980s the increase in social violence produced by the globalized drug trade and the flow of media images, consumer goods, and new cultural identities produced a crisis of representation of the ‘national imagined community’. Indeed, the overwhelming presence of the media centred foremost on television, and the circulation of globalized consumer goods, lifestyles and political agendas have transformed expectations and cultural identities. Such transformations are keenly felt in the invention of youth cultures, where the formerly national samba has lost much of its influence to funk and hip-hop in the favelas of Rio de Janeiro and São Paulo. Images and narratives of a globalized favela emerge as the former national portraits of Brazil become increasingly fragmented. The fraying of previous narratives and images of national identity has also brought to the limelight new cultural icons shaped by the media and popular culture. In the wake of these changes, contemporary literary and cinematographic productions are attempting to come to terms with