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Spatial Truths and Temporal Fictions: Cinematic Representations of the American City 1938-1978

机译：空间真相和时空小说：1938-1978年美国城市的电影作品

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摘要

This dissertation examines two works of cinema---The City (1939), directed by Ralph Steiner and Willard Van Dyke, and Killer of Sheep (1977), directed by Charles Burnett. Straddling the midpoint of the twentieth century, they together bracket a critical forty-year period in the development of the American city. It is during this span of time that a paradoxical condition emerged in the United States. The country became on the whole less segregated on a national scale, yet re-segregated to near-equal levels within each metropolitan region. As fluid as regional demographics were during this time, with millions of rural white and black Americans moving to the urban centers across the country seeking opportunity, the gradual relocation of industries from the traditional center city to new urban-edge communities (as discussed in relation to The City) from the late 1930s onward, coupled with slow progress ending racial restrictions in real estate lending, led many African American communities to become devastatingly "out of sync" with the flow of postwar opportunity (as discussed in relation to Killer of Sheep) by the 1970s, leaving many in a state of "hypersegregation." Film, as a time-based art form, proved to be a particularly apt medium to represent the relationship between physical mobility and social mobility for all Americans during the first half of the twentieth century (as discussed relative to The City), as well as the consequences of the lack of mobility and opportunity afforded to some Americans based on race in the second half of that century (as discussed relative to Killer of Sheep). Each of these works is a film about time, and also of its time, registering the shift in the public "image" of urban poor across this forty-year period from predominantly white (as depicted in The City) to predominantly black (as depicted in Killer of Sheep). While the two films are antithetical to one another in terms of their narrative or temporal organization, they share a common commitment towards engaging the medium of film itself as a tool for social persuasion. Both attempt to bring the far and the forgotten near, and to cancel out the distance so often created through strategies of segregation, intentionally blurring the line between fiction and documentary modalities, and forcing us (middle-class Americans) to encounter through direct address (via "the voice" in The City and "the look" in Killer of Sheep) what we had hoped to have hidden through physical distance in the real city. This dissertation argues that hypersegregation in the late 1970s was not only directly linked to many of the racially motivated planning policies put in place during the late 1930s, but that (as an extreme spatial condition) its representation began to challenge the language of cinema as a temporal art form in works such as Killer of Sheep by the late 1970s. By abandoning the temporal conventions that assist in producing narrative coherency and by focusing instead on the "weight" of empty spaces and discarded waste in the ghetto, Burnett suggests with Killer of Sheep that the main protagonist's personal crisis of living in poverty is caused as much by geography (space) as it is by historical circumstance (time). Extending the type of temporal-spatial alienation felt by the protagonist to the audience members themselves, as Burnett does in Killer of Sheep, the viewing subject is able to recognize the extent to which our temporal fictions often conceal our society's uncomfortable spatial truths. The dissertation concludes by suggesting that this emergent spatial awareness as depicted in Killer of Sheep was met with a similar "spatial turn" in the social sciences during this same period of time---a "turn" which recognized, as Burnett did, that critiques of Western society's grand historical narratives are not enough to dismantle long-standing forms of social hierarchies, and that an informed critique of our relative uneven spatial positions is equally necessary.
机译：本文考察了两部电影作品：拉尔夫·史坦纳和威拉德·范·戴克执导的电影《城市》（1939）和查尔斯·伯内特执导的《杀羊人》（1977）。它们跨越了20世纪的中点，共同构成了美国城市发展的关键40年。正是在这段时间里，美国出现了自相矛盾的情况。该国在全国范围内总体上变得不那么孤立，但在每个大都市区域内又重新划分到几乎相等的水平。在此期间，由于区域人口统计数据的变化，随着数以百万计的美国黑人和黑人农村人口迁移到全国各地的城市中心寻求机会，产业逐渐从传统的中心城市转移到新的城市边缘社区（相关讨论）从1930年代末开始，再加上进展缓慢，结束了房地产贷款中的种族限制，导致许多非裔美国人社区与战后机遇的流失发生了毁灭性的“不同步”（如关于“杀人的羊”所讨论的） ）到1970年代，使许多人处于“过度种族隔离”状态。电影作为一种基于时间的艺术形式，被证明是一种特别合适的媒介，它代表了二十世纪上半叶（相对于《城市》所讨论的）所有美国人身体活动与社会活动之间的关系。缺乏流动性和机会的后果给某些美国人基于该世纪下半叶的种族（如关于“杀羊人”所讨论的）。这些作品都是关于时间的电影，也是关于时间的电影，记录了这四十年期间城市穷人的公共“形象”从以白人为主（如《城市》所描绘）到以黑人为主（如所描绘）的转变。在《杀人狂》中。尽管这两部电影的叙事或时间安排彼此对立，但它们共同致力于将电影本身作为一种社会说服工具。两者都试图拉近距离和被遗忘的距离，并消除通过隔离策略而经常产生的距离，故意模糊小说和纪录片形式之间的界线，并迫使我们（中产阶级的美国人）通过直达地址相遇（通过《城市》中的“声音”和“杀人者羊”中的“外观”），我们希望通过实际距离隐藏在真实城市中。本文认为，1970年代后期的种族隔离现象不仅与1930年代后期制定的许多出于种族动机的计划政策直接相关，而且（作为一种极端的空间条件）它的表现形式开始挑战电影的语言。 1970年代末期的作品，例如《杀羊人》中的时态艺术形式。通过放弃有助于产生叙事连贯性的时间惯例，而将注意力集中在贫民窟中的空白处和废弃废物的“重量”上，伯内特与《杀人的羊》建议，主要主人公个人生活在贫困中的危机是造成这种情况的主要原因按地理位置（空间）和按历史情况（时间）。正如伯内特（Burnett）在《羊群杀手》（Killer of Sheep）中所做的那样，将主人公感受到的时空异化类型扩展到听众本身，观看对象能够认识到我们的时空小说在多大程度上掩盖了我们社会不舒服的空间真相。论文的结论是，在同一时期，如《杀人的羊》中描述的这种新兴的空间意识在社会科学中也遇到了类似的“空间转向”，就像伯内特所做的那样，这种“转向”认识到了这一点。批评西方社会的宏大历史叙述不足以消除长期存在的社会等级制形式，同样有必要对我们相对不平衡的空间位置进行有根据的批评。

著录项

  • 作者

    Murphy, Amy L.;

  • 作者单位

    University of Southern California.;

  • 授予单位 University of Southern California.;
  • 学科 Cinematography.
  • 学位 Ph.D.
  • 年度 2017
  • 页码 334 p.
  • 总页数 334
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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