White Saviors and Magical Negros are well-established cinematic archetypes that have been identified, analyzed, and subsequently labeled as unadvisable storytelling tropes due to their innate cultural arrogance and racially offensive undertones. The following paper classifies a related cinematic phenomenon the author calls the White Fanatic. By analyzing three recent films in which white lead characters suffer existential crises and demand relief from Magical Natives, the paper makes the case that the White Fanatic represents a colonial mindset shared by filmmakers who continue to emphasize the experience of European colonizers at the expense of Indigenous peoples.The three films included in this analysis are Zama (2017), directed by Lucrecia Martel; The Lost City of Z (2016), directed by James Gray; and Embrace of the Serpent (2015), directed by Ciro Guerra. The author concludes that such stories are more sensitive to Native cultures than previously accepted versions of the White Savior. However, the essay calls for greater Indigenous representation that is uncorrupted by fanatical white protagonists.

中文翻译：

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美洲的恐惧和厌恶：白人狂热分子和电影殖民心态

White Saviors 和 Magical Negros 是成熟的电影原型，由于其与生俱来的文化傲慢和种族攻击性的暗示，这些原型已被识别、分析并随后被标记为不可取的讲故事的比喻。以下论文对作者称之为“白人狂热者”的相关电影现象进行了分类。通过分析最近三部白人主角遭受生存危机并要求魔法原住民救济的电影，该论文证明了白人狂热者代表了电影制片人所共有的殖民心态，他们继续强调欧洲殖民者的经历，而以牺牲原住民为代价。人民。本次分析中包含的三部电影是《扎马》（2017），由卢克雷西亚·马特尔执导；失落之城 Z (2016)，由詹姆斯·格雷执导；和蛇的拥抱（2015），西罗·格拉执导。作者得出的结论是，与以前接受的白人救世主版本相比，此类故事对本土文化更为敏感。然而，这篇文章呼吁更多的原住民代表不受狂热的白人主人公的破坏。