ABSTRACT

The Five Provocations (2018), Angie Black’s debut low-budget, independent feature film, began production without a script. Free from the requirements of development funding and operating with what she described as a ‘no budget’ model, Black worked with her actors to develop characters and stories in an extended period of improvisation. While improvisation in low budget, independent cinema is not new, Black’s film distinguishes itself in several ways. Firstly, it uses an additional improvisation mode in which performers, working with feminist burlesque traditions, interrupt the narrative at certain key moments. In this way, the film doubles its improvisation. Furthermore, in queering its realism it also naturalises its queerness. Improvisational strategies in low budget, feature filmmaking, and the unpredictability they produce, are often associated with notions of authenticity and realism. Using the cinematic theory of Jacques Rancière to frame a textual analysis of the film, we argue that, while the film works with conventions of realism, it also disrupts them through transgressive performance and cinematic moments that escape its story logic.

摘要

五次挑衅（2018 年），安吉·布莱克 (Angie Black) 的处女作低成本独立故事片，在没有剧本的情况下开始制作。摆脱了开发资金的需求，并以她所描述的“无预算”模式运作，布莱克与她的演员合作，以长时间的即兴创作来开发角色和故事。虽然以低预算即兴创作，独立电影并不新鲜，但布莱克的电影在几个方面与众不同。首先，它使用了一种额外的即兴模式，在这种模式下，表演者在某些关键时刻打断叙事，与女权主义滑稽传统合作。通过这种方式，电影的即兴表演加倍了。此外，在酷化它的现实主义的同时，它也自然化了它的酷儿性。低预算中的即兴策略、故事片制作及其产生的不可预测性，通常与真实性和现实主义的概念相关联。使用雅克·朗西埃的电影理论来构建电影的文本分析，我们认为，虽然这部电影遵循现实主义的惯例，但它也通过越轨的表演和脱离故事逻辑的电影时刻来破坏它们。