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A critical introduction to The Nightingale: gender, race and troubled histories on screen
Studies in Australasian Cinema Pub Date : 2020-01-02 , DOI: 10.1080/17503175.2020.1740404
Michelle Arrow 1 , James Findlay 2
Affiliation  

ABSTRACT Acclaimed Australian filmmaker Jennifer Kent’s film The Nightingale has generated intense debate since its premiere at the 2018 Venice Film Festival. Set during the Black War in Van Diemen’s Land in 1825, the film is an unflinching depiction of colonial and sexual violence. Kent told The Saturday Paper that she ‘wanted to tell a story that is relevant to my history and my country’. Her vision of British colonisation, and its consequences for those caught in its wake, taps into a conversation with a strong presence in Australia’s public, political and cultural life over the last three decades. This article critically introduces The Nightingale as an historical film; that is, a film set in the past which offers an interpretation of history. We ask: how does The Nightingale represent the past? How might we situate it within longer traditions of historical representation of frontier conflict, and the convict experience? How did audiences respond to the film? And finally, how might we situate The Nightingale in the moment of its reception? What does it mean to make a film about colonial violence at the same moment as the Uluru statement called for truth-telling about our history?

中文翻译:

夜莺的批判性介绍:性别,种族和屏幕上的困扰历史

摘要自2018年威尼斯电影节首映以来,备受赞誉的澳大利亚电影制片人詹妮弗·肯特的电影《夜莺》引起了激烈的辩论。这部电影是在1825年范迪门土地(Van Diemen's Land)的黑战期间拍摄的,内容坚定地描绘了殖民和性暴力。肯特告诉《星期六报》,她“想讲一个与我的历史和我的国家有关的故事”。她对英国殖民的远见及其对随之而来的人们的影响,使她在过去的三十年中与澳大利亚的公共,政治和文化生活密切相关。本文批判性地介绍了《夜莺》作为一部历史电影。也就是说,过去拍摄的电影对历史进行了诠释。我们问:夜莺如何代表过去?我们如何将其置于边界冲突的历史表示和定罪经验的悠久传统中?观众对这部电影有何反应?最后,在接待《夜莺》时,我们该如何定位?在乌鲁鲁声明要求对我们的历史讲真话的同时制作一部有关殖民地暴力的电影意味着什么?
更新日期:2020-01-02
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