In 1970, Ilene Segalove was a student at the University of California, Santa Barbara, during a period of violent protests against the American Vietnam War. In 1984, as Ronald Reagan was elected to his second term as US President, Segalove made a video art work entitled The Riot Tapes, which re-enacts those student days via the visual vocabulary of popular television. This article explores The Riot Tapes in the context of televised politics and the deployment of national and geopolitical historical narratives of conflict and protest. Drawing on Lauren Berlant’s delineation of ‘the female complaint’ (1988) and Hayden White’s ‘practical past’ (2014), I argue that in the video Segalove performs the position of failure, both in her quasi-autobiographical narrative of the “lousy revolutionary” and in her adoption of cultural genres historically deemed trivial and subordinate. She does so, I contend, in order to critique the gendered rhetoric of protest narratives, to resist the co-option of history in the era of the “televised presidency”, and to reclaim affect and ambivalence as viable modes of resistance.

中文翻译：

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糟糕的革命者：Ilene Segalove 的 The Riot Tapes (1984) 中的小说、女权主义和失败

1970 年，艾琳·塞加洛夫 (Ilene Segalove) 是加州大学圣巴巴拉分校的一名学生，当时正值反对美国越南战争的暴力抗议时期。In 1984, as Ronald Reagan was elected to his second term as US President, Segalove made a video art work entitled The Riot Tapes, which re-enacts those student days via the visual vocabulary of popular television. 本文在电视政治以及国家和地缘政治冲突和抗议历史叙事的部署的背景下探讨了防暴录音带。借鉴劳伦·伯兰特对“女性抱怨”（1988 年）和海登·怀特“实际过去”（2014 年）的描述，我认为在视频中 Segalove 扮演了失败的角色，无论是在她对“糟糕的革命者”的准自传式叙事中，还是在她采用历史上被视为微不足道和次要的文化体裁中。我认为，她这样做是为了批判抗议叙事的性别化修辞，抵制“电视总统”时代的历史共同选择，并重新将情感和矛盾心理作为可行的抵抗模式。