ABSTRACT

Kathryn Bigelow prioritises spatial relationships in narratives featuring groups of men in high-pressure, threatening situations. Bigelow foregrounds the inner, individual experiences of characters within ensembles and institutions, ‘the lonely walk’ affording a useful way to visualise the action of isolated characters in danger. Bigelow’s use of spatial relationships to convey the inner lives of characters is an unorthodox mode for action films. In Point Break, this aesthetic/formal approach is associated with philosophy, psychology, and judicial law. Bigelow stages the plot, of an FBI agent getting drawn into the lifestyle of bank robbers, in a series of face-offs leading towards transcendence of the laws that define most cops-and-robbers films. K-19: The Widowmaker, an adaptation of a real-life Soviet submarine disaster, also contains a face-off between men with contrasting philosophies. Again, Bigelow accentuates individual action, as each man faces his own walk towards radiation poisoning. In The Hurt Locker, the central character and his harrowing missions are defined by his rogue single-mindedness. He is an impenetrable action hero, but under Bigelow’s direction, that status is one that occurs from the inside out. Finally, in historical drama Detroit, Bigelow’s attention to individual volition shifts to characters that lack freedom and equal treatment.

摘要

凯瑟琳·毕格罗 (Kathryn Bigelow) 在以处于高压、威胁情境中的男性群体为特色的叙事中优先考虑空间关系。Bigelow 突出了合奏和机构中角色的内在、个体体验，“孤独的行走”提供了一种有用的方式来可视化处于危险中的孤立角色的行动。毕格罗利用空间关系来传达角色的内心生活是动作片的一种非正统模式。在Point Break 中，这种美学/形式方法与哲学、心理学和司法法有关。Bigelow 策划了一个 FBI 探员卷入银行劫匪生活方式的情节，在一系列对抗中，导致超越定义大多数警察和劫匪电影的法律。K-19：寡妇制造者改编自现实生活中的苏联潜艇灾难，也包含了具有不同哲学的人之间的对峙。毕格罗再次强调个人行动，因为每个人都面临着自己走向辐射中毒的道路。在The Hurt Locker 中，中心人物和他悲惨的任务是由他的流氓一心一意定义的。他是一个坚不可摧的动作英雄，但在毕格罗的指导下，这种状态是由内而外发生的。最后，在历史剧《底特律》中，毕格罗对个人意志的关注转移到了缺乏自由和平等待遇的角色身上。