ABSTRACT

Studies of films of the 1980s have noted a tendency towards “ideological conglomeration”—the presence of multiple contradictory ideological registers. This article argues that 80s films’ “ideological conglomeration” is made legible and coherent through Michael Rothberg’s (2009, Multidirectional memory: Remembering the Holocaust in the age of decolonization. Stanford University Press) concept of multidirectional memory. It thus proceeds to apply a theoretical framework of multidirectional memory to the analysis of two “New Cold War” films—Sylvester Stallone’s Rocky IV (1985) and Taylor Hackford’s White Nights (1985). Reading Rocky IV through a lens of multidirectional memory allows us to perceive links between the “New Cold War,” U.S. racializing logics, and the racializing schemas of the Nazi regime. In White Nights an analytic of multidirectional memory foregrounds the connections between Little Rock, Arkansas, the 1968 Democratic National Convention, and the displacement of the associated discourses of state brutality, racism, and accountability onto the Soviet Union. The article concludes that multidirectional memory offers a generative theoretical framework for the study of the cinema of the “New Cold War” that illuminates how films link U.S. Cold War and racial logics to secure the hegemony of white masculinity.

摘要

对 1980 年代电影的研究已经注意到“意识形态聚合”的趋势——存在多个相互矛盾的意识形态记录。本文认为，80 年代电影的“意识形态聚合”通过迈克尔·罗斯伯格（2009 年，多向记忆：非殖民化时代的大屠杀。斯坦福大学出版社）的多向记忆概念变得清晰和连贯。因此，它继续应用多向记忆的理论框架来分析两部“新冷战”电影——西尔维斯特·史泰龙的《洛奇四世》 （1985）和泰勒·哈克福德的《白夜》（1985）。阅读洛基四世通过多向记忆的镜头，我们可以感知“新冷战”、美国的种族化逻辑和纳粹政权的种族化图式之间的联系。在《白夜》中，对多向记忆的分析突出了阿肯色州小石城与 1968 年民主党全国代表大会之间的联系，以及将国家暴行、种族主义和问责制等相关话语转移到苏联身上。文章的结论是，多向记忆为研究“新冷战”电影提供了一个生成性理论框架，阐明了电影如何将美国冷战和种族逻辑联系起来，以确保白人男子气概的霸权。