ABSTRACT Jennifer Lawrence emerged as a major star of American cinema following the collapse of the economy in 2008. This article will argue that her image in the initial phase of her fame (2010–16) is reflective of mainstream culture’s response to the crisis of neoliberalism and the endemic economic insecurity it has precipitated. Rising to prominence in the Great Recession through indie hit Winter’s Bone (2010), in which Lawrence played Ree Dolly, an impoverished young girl trying to save her family from destitution, on to her zeitgeist-capturing turns as reluctant revolutionary Katniss Everdeen in The Hunger Games (2012–15) series, and through her role as successful entrepreneur and single mom Joy Mangano in Joy (2015), she played to a particular ‘type’: ‘white trash with too much responsibility’. Indeed, the initial phase of Lawrence’s film career (2010–16) performed essential cultural work in the aftermath of the recession, attempting to critique the consequences of neoliberalism’s crisis, but ultimately coming to reinforce some of its fundamental ideological tenets. This article argues that Lawrence’s image, performances, and acting style have addressed the effects of the crisis of neoliberalism and, more often than not, offered a fantastical vision of how one might escape it.

中文翻译：

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詹妮弗·劳伦斯（Jennifer Lawrence）的文化政治作为明星，演员，名人

摘要珍妮弗·劳伦斯（Jennifer Lawrence）在2008年经济崩溃后成为美国电影的主要明星。本文将论证她在成名初期（2010-16年）的形象反映了主流文化对新自由主义危机的反应并加剧了地方经济不安全感。在独立剧《温特的骨头》（Winter's Bone，2010年）中大萧条中的地位得到提升，劳伦斯饰演一个贫穷的年轻女孩里里·多莉（Ree Dolly），试图挽救自己的家人免遭贫穷之苦，但由于渴望革命的卡特尼斯·埃弗丁（Katnis）游戏（2012-15）系列，并通过扮演乔伊（2015）中成功的企业家和单身母亲乔·曼加诺（Joy Mangano）的角色，扮演了一种特殊的“类型”：“负有太多责任的白色垃圾桶”。确实，劳伦斯电影事业的最初阶段（2010-16年）在经济衰退后进行了必不可少的文化工作，试图批评新自由主义危机的后果，但最终却强化了它的一些基本意识形态宗旨。本文认为，劳伦斯的形象，表演和表演风格已经解决了新自由主义危机的影响，而且往往能为人们提供如何摆脱危机的奇幻愿景。