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定义2017年的10场文化战争

更新时间:2017-12-31 12:00:04 来源:纽约时报中文网 作者:佚名

10 Cultural Battles That Ruled 2017
定义2017年的10场文化战争

Of all the sequels and franchise extensions in 2017, none were as ambitious as the reboot of the culture wars starring Donald J. Trump. He swept into office with the swagger of a one-man Justice League, bent on vanquishing the liberal-leaning entertainment industrial complex and its coastal elite base, one tweet at a time.

在2017年里虽有那么多大片系列和续集,但没有哪一个的场面像唐纳德·J·特朗普主演的文化大战重启这么宏大。他自诩为一个人的正义联盟,大摇大摆入主白宫,用一条条的推文击溃自由主义倾向的娱乐工业综合体及其沿海地区的精英选民群体。

The phrase “culture war” first crashed into the national discourse in the late 1980s, as a catchall term for battles over values, ideals and national identity. The battlegrounds were college campuses, Hollywood, the bedroom — anywhere that moral relativism, secularism and the general “culture of depravity,” as dedicated warriors like Rush Limbaugh put it, held sway.

在1980年代后期,“文化战争”一词首次进入全国讨论,这是一个笼统的术语,指的是不同价值观、理想与民族身份认同之间的战斗。战场是在大学校园、好莱坞与卧室里——任何道德相对主义、世俗主义,乃至拉什·林博(Rush Limbaugh)这样专注的斗士所说的“堕落文化”具有重大影响的地方。

Today’s culture wars, like war itself, have moved beyond the old, clearly defined fields of contention and are just as likely to rage among old allies as traditional right-left antagonists.

当今的文化战争就像战争本身一样,已经超越了旧的、定义清晰的争论范畴,而且不仅在传统的左右阵营之间展开,昔日盟友之间一样容易发生。

Here’s a selective, not-so-nostalgic look back at some of the fiercest fights from a year when just about every cultural event and artifact became an arena for asking not just “Which side are you on?” but “Do you really have my back?”

这一年来,几乎每个文化事件和制品都成了竞技场,参与者不仅发问,“你站在哪一边?”,而且还要问“你真的支持我吗?”下面是一份不怎么怀旧的回顾,选择了一些本年度最激烈的战斗。

President Trump Versus Hollywood

特朗普总统对阵好莱坞

If there was any lingering hope that President Trump was going to cede the stage to a more restrained character, it was laid to rest at the Golden Globes on Jan. 8, when Hollywood served up the making of a classic culture wars set piece.

如果人们还残存着一线希望,认为特朗普总统会把舞台让给一个更克制的角色,那么在1月8日的金球奖颁奖仪式上,随着好莱坞上演了一次经典文化战争的传统套路,这个希望也就破灭了。

The erstwhile Trump tousler Jimmy Fallon was the host, but it was Meryl Streep who volunteered as Mr. Trump’s scene partner. She unleashed a fiery speech that called out his mocking imitation of a disabled reporter during the campaign — a performance that “sank its hooks into my heart” — and extolled the open borders of culture. “Hollywood is crawling with outsiders and foreigners,” she declared. “If we kick them out, you’ll have nothing to watch but football and mixed martial arts, which are not the arts.”

曾在节目里摸过特朗普头发的吉米·法伦(Jimmy Fallon)担任主持人,但梅丽尔·斯特里普(Meryl Streep)挺身而出,帮助特朗普制造大场面。她做了一场言辞激烈的演讲,抨击特朗普在竞选期间嘲笑地模仿一名残疾记者——她说,特朗普的表演“深深扎进了我的心”——此外她还赞扬文化的无国界。“好莱坞是一个充满外来者与外国人的地方,”她宣告。“如果我们把他们踢出去,那么我们除了橄榄球与综合格斗就没什么可看的了,而这两样都不是艺术。”

The room, and the internet, erupted in cheers. Conservative pundits accused her of elitist grandstanding, while on Twitter Mr. Trump called her “one of the most over-rated actresses in Hollywood” and “a Hillary flunky who lost big.”

颁奖礼现场和互联网上都爆发出欢呼。保守派专家指责她在摆精英主义高姿态,而在Twitter上,特朗普称她是“好莱坞最受高估的女演员之一”,是“大输家,希拉里的马屁精”。

Two weeks later, at a gala in New York, Ms. Streep attempted a rollback on at least one target. “I do like football — let me just make that clear,” she said. Some M.M.A. fans, meanwhile, pointed out that the sport, which was brought to the United States by a Brazilian family that had studied jujitsu, is not only creative, but also more diverse than Hollywood.

两个星期后,在纽约的一次盛会上,斯特里普试图收回至少一个攻击对象。“我喜欢橄榄球——让我澄清一下。”一些综合格斗的爱好者们也指出,这项运动是由一个巴西柔术之家带到美国的,它不仅有创意,而且参与者也比好莱坞更多元。

Ms. Streep may get a do-over at this year’s Golden Globes on Jan. 7; she is nominated for her portrayal of the newspaper publisher Katharine Graham, another woman who faced down a president, in Steven Spielberg’s Pentagon Papers drama, “The Post.”

明年1月7日,斯特里普可能会在本年度的金球奖上重头再来一遍;她因在斯蒂芬·斯皮尔伯格(Steven Spielberg)关于“五角大楼文件”(Pentagon Papers)的电影《邮报》(The Post)中饰演报业出版人凯瑟琳·格雷厄姆(Katharine Graham)而获得提名——格雷厄姆同样是一位直面总统的女人。

Whose Feminism Is This, Anyway?

这究竟是谁的女性主义?

The Women’s March spurred millions of protesters in pink “pussy hats” to take to the streets across the country the day after Mr. Trump’s inauguration. It was a show of strength for the Resistance, but also a trailer for the internecine battles to follow. Signs pointed out the awkward fact that 53 percent of white women had voted for Mr. Trump. The pink hat itself was denounced as racist and transphobic.

在特朗普举行就职典礼之后的第二天,“女性大游行”激励了全国各地数百万头戴粉红色“猫咪帽子”的示威者走上街头。这是抵抗力量的展示,也预告了随后两败俱伤的战争。有迹象指出这样一个尴尬的事实:53%的白人女性投票给了特朗普。而那粉红色的帽子本身则被谴责为种族主义和跨性别排斥。

Some two months later, Hulu’s adaptation of “The Handmaid’s Tale” provided another sartorial rallying point, as protesters dressed in blood-red cloaks and white bonnets descended on various state capitals to challenge cuts to funding for reproductive health care. But what did those hats, and the show, really mean?

大约两个月后,Hulu对《使女的故事》(The Handmaid’s Tale)的改编再一次号召了一场和服装有关的集会,抗议者们身穿该片中出现的血红色斗篷和白帽前往各州首府,抗议对生殖保健资金的削减。但那些帽子和这部剧真正的涵义又是什么?

The fictional Republic of Gilead as an allegory of Trump’s America drew scoffs from conservatives, some of whom argued that its vision of sexual slavery could also be read as a parable about assisted reproduction. And on the left, some asked why nonwhite women (who in Margaret Atwood’s novel had been shipped to segregated colonies in the Midwest) were present, thanks to colorblind casting, but largely marginalized, while the actual history of slavery in the United States was ignored.

片中虚构的基列共和国可以用来讽喻特朗普治下的美国,但是引来了保守派的嘲笑,其中一些人认为,片中对性奴役的描绘也可以被解读为关于辅助生殖的寓言。而在左派当中有人抗议,虽然由于采取无视肤色的选角原则,片中出现了非白人女性(玛格丽特·阿特伍德[Margaret Atwood]的小说原著中,这些非白人女性被运到中西部种族隔离的殖民地),但她们在很大程度上被边缘化了,而美国奴隶制的真实历史则遭到忽略。

The show “isn’t really the future,” Jenn M. Jackson of the Black Youth Project wrote. “It more closely resembles the lived past of black women in the United States, just wrapped in cloaks and creepy white bonnets.”

黑人青年项目(Black Youth Project)的简·M·杰克逊(Jenn M. Jackson)写道,这部剧“其实讲的不是未来”。“它更像美国黑人女性活生生的过去,只是披上了斗篷,戴上了令人毛骨悚然的白色帽子。”

Embracing, or Subverting, a Border Wall

欢迎还是摧毁边境墙

Mr. Trump’s Jan. 25 executive order calling for the construction of a border wall and temporarily suspending immigration from seven predominantly Muslim nations brought demonstrators out into the streets again. Even some Super Bowl ads had a marked pro-immigrant slant (though the original ending of one from 84 Lumber, which featured a truck bearing Spanish-speaking migrants running smack into a wall, was deemed too controversial by Fox and changed).

今年1月25日,特朗普发布行政命令,要求修建边境墙,并暂时中止七个以穆斯林为主的国家的移民,这使得示威者再次走上街头。甚至一些超级碗赛事中的广告也具有明显的亲移民倾向(84 Lumber公司广告原本的结尾当中,载着西语裔移民的卡车一头撞上一堵墙,福克斯电视台认为太有争议性,广告只得做出改动)。

Few in the arts world saw it as a moment for anything but resistance. When news outlets highlighted some entirely theoretical proposals that sneaked “subversive design” into the idea of a border wall (including a wall made of cactuses and another that doubled as a xylophone), the architects were blasted for turning a moral crisis into a design opportunity. “Miami Firm Proposes ‘Sustainable’ Hipster Moat for Trump’s Racist Wall” ran one headline.

在艺术界,几乎所有人都把它视为一个抵抗时刻。当新闻媒体报道了一些将“颠覆性设计”引入边界墙的纯假设提议(包括用仙人掌做的墙,以及可以同时用作木琴的墙),结果那些建筑师们被指责为将一场道德危机变成了一个设计机会。有一个新闻标题写道:“迈阿密公司提议将特朗普的种族主义墙建成‘可持续’的时尚护城河”。

The French photographer JR earned better reviews for his more pointed (and Instagram-friendly) intervention: a nearly 70-foot photograph of a baby peering over the existing barrier bordering San Diego County. Installed on the Mexican side, in the city of Tecate, it was fully visible only from the United States.

法国摄影师JR更尖锐的(更适合Instagram的)干预受到了更好的评价:一张近70英尺高的照片,照片上的婴儿越过圣迭戈县边界现有的栅栏张望着。这张照片安装在特卡特市,墨西哥一侧,然而只有从美国这一侧才能看到它的全貌。

Who Gets to Tell the Story?

谁拥有讲故事的权利?

Jordan Peele scored a No. 1 movie in February with “Get Out,” a satire of the ways white liberal racism loves black bodies to death, while accusations of more direct cultural body snatching — and the question of who has the right to represent black pain — dogged white artists throughout the year.

乔丹·皮尔(Jordan Peele)在2月用《逃出绝命镇》(Get Out)取得票房第一,它讽刺的是白人自由派种族主义对黑人身体的痴迷,与此同时,对更直接的文化身体篡夺的谴责,以及谁有权表达黑人痛苦这个问题一直困扰着白人艺术家们。

After the Whitney Biennial opened in March, some African-American artists called for the removal, even the destruction, of “Open Casket,” Dana Schutz’s painting based on the famous photographs of Emmett Till’s mutilated corpse. “The subject matter is not Schutz’s,” the artist Hannah Black wrote on Facebook, calling contemporary art “a fundamentally white supremacist institution despite all our nice friends.” In a statement, Ms. Schutz said the painting was born of empathy with Till’s mother. “I don’t know what it is like to be black in America,” she said. “But I do know what it is like to be a mother.”

3月份,惠特尼双年展(Whitney Biennial)开幕后,一些非裔美国艺术家呼吁撤下甚至毁掉达娜·舒茨(Dana Schutz)的画作《打开棺材》(Open Casket),它根据埃米特·蒂尔(Emmett Till)被肢解的尸体的著名照片创作。“它不是属于舒茨的题材,”艺术家汉娜·布莱克(Hannah Black)在Facebook上写道。她还说,当代艺术“从根本上是一个白人至上体制,尽管里面有许多友好的朋友”。舒茨在一份声明中表示,这幅画是源于自己代入到蒂尔母亲的角色里。“我不知道在美国身为黑人是什么感觉,”她说,“但我知道身为母亲是什么感觉。”

The year saw plenty of full-throated paeans to cultural appropriation, which argued that borrowing and mixing were the engines of culture itself. But when Kathryn Bigelow’s “Detroit,” set during the riots of 1967, was accused of appropriating black stories and black pain, she defended herself by agreeing with the charge — sort of. “Am I the perfect person to tell this story? No,” she told Variety. “However, I am able to tell this story, and it’s been 50 years since it was told.”

在过去的一年里,出现了大量关于文化挪用的响亮赞歌,它们认为,借用与融合是文化的发动机。但是,当凯瑟琳·毕格罗(Kathryn Bigelow)以1967年暴乱为背景的《底特律》(Detroit)被指责盗用黑人的故事和黑人的痛苦时,她通过部分赞同这种指责为自己辩护。“我是讲述这个故事的完美人选吗?不是,”她在接受《Variety》杂志采访时说。“不过,我有能力讲述这个故事,而且距离它上一次被讲述已经50年过去了。”

Satire and Its Discontents

讽刺与不满

If you come at the king, you best not miss — or, if you’re joking, at least get ready for the inevitable guerrilla warfare over the limits of art, free speech and satire.

如果你针对的是国王,那么你最好不要打偏。或者说如果你想开玩笑,那么至少做好准备,势必会有一场关于艺术、言论自由和讽刺的底线的游击战。

When Kathy Griffin tweeted out a photograph of herself holding the bloody, severed head of Mr. Trump, she found few defenders and was promptly fired from her gig hosting CNN’s New Year’s Eve special. But the conversation became a pitched partisan battle a week later, when a bootleg video from the Shakespeare in the Park production of “Julius Caesar” was posted online showing the very bloody assassination of a very Trump-like Caesar.

凯茜·格里芬(Kathy Griffin)在Twitter上发布了一幅照片,上面是她拿着特朗普被割下的鲜血淋漓的头,几乎没有人支持她,她很快被免去CNN除夕特别节目主持一职。但是一周后,网上出现了“莎士比亚在公园”(Shakespeare in the Park)剧团上演的《凯撒大帝》(Julius Caesar)的一段私录视频,其中的凯撒外貌与特朗普极为相似,他遭到了血腥的暗杀,其后,这一对话就变成了激烈的党派之争。

Breitbart, Fox News and other outlets pumped the story with headlines like “Senators Stab Trump to Death in Central Park Performance of Shakespeare’s Julius Caesar.” Corporate sponsors withdrew support or distanced themselves. After Donald Trump Jr. asked on Twitter if the play had any taxpayer funding, the National Endowment for the Arts (which had been marked for elimination by the Trump administration) felt compelled to issue a statement saying it had no connection with the production.

布莱巴特(Breitbart)和福克斯新闻等媒体报道这个故事的标题是“‘莎士比亚在公园’的《凯撒大帝》中,参议员们刺死了特朗普”。该剧团的赞助商或撤回资助,或与之保持距离。小唐纳德·特朗普(Donald Trump Jr.)在Twitter上询问该剧是否获得了纳税人的资助,曾被特朗普政府考虑撤销的国家艺术基金会(National Endowment for the Arts)感到有必要发布一份声明,称自己与那部剧作没有关系。

“Lefty Actors Are Beginning to Fear Trump,” National Review declared. But others wondered why conservatives who love to champion free speech against the forces of political correctness were suddenly melting like snowflakes.

“左倾演员们开始害怕特朗普了,”《国家评论》(National Review)的报道宣称。不过,也有些人开始思考,为什么一贯热爱支持言论自由、反对政治正确势力的保守派突然像雪花一般融化消失了。

The End of Whitewashing?

洗白文化的告终?

Since the debate over whitewashing broke out, those looking for more representation of Asian-Americans in movies have had to settle for justice via meme. Last year’s #StarringJohnCho campaign had cast the Korean-American actor (via Photoshop) in just about everything, with no measurable effect on his real-life credits. When “Ghost in the Shell,” which had stirred controversy with its casting of Scarlett Johansson as a cyborg whose name is Major Motoko Kusanagi in the anime original, opened in March, unhappy fans weaponized the movie’s promotional meme generator, transforming the tagline “I Am Major” into variations like “I Am in Love With White Feminism.”

自从关于“洗白”文化(指好莱坞让白人演员扮演非白人角色的做法。——译注)的辩论爆发以来,希望亚裔美国人更多出现在电影里的人们,不得不通过网络米姆来伸张正义。去年以“#StarringJohnCho”为标签的活动用Photoshop让韩裔美籍演员约翰·赵当上了几乎所有影片的主角,然而这对于他的现实生活几乎没有任何影响。《攻壳机动队》(Ghost in the Shell)动画原著中的主角是一个名叫草薙素子少校的赛博人,真人电影版中由斯嘉丽·约翰逊(Scarlett Johansson)饰演,此举颇具争议,影片在3月份上映时,心怀不满的影迷把影片用于宣传的米姆生成器变成了武器,把图中的文字“我是少校”改成了“我爱白人女权主义”等等。

Ms. Johansson defended herself by arguing that the character “has a human brain in an entirely machinate body,” and said, “I would never attempt to play a person of a different race, obviously.”

约翰逊为自己辩解说,这个角色“在一个完全机械化的身体中有一个人类大脑”,并且说:“我显然不会试图扮演一个和自己的种族完全不同的人。”

Then, in August, an online outcry actually prompted a white actor to back out of a role in the reboot of “Hellboy.” Ed Skrein made his decision less than a week after the announcement that he would play a character who is half-Japanese in the original comic book series.

然后,8月份,网上的强烈抗议促使一位白人演员退出了《地狱男爵》(Hellboy)重启影片中的角色。片方宣布艾德·斯克林(Ed Skrein)将饰演一个在漫画系列原著中有一半日本血统的角色,不到一周后,斯克林做了退出的决定。

“I accepted the role unaware that the character in the original comics was of mixed Asian heritage,” Mr. Skrein said in a statement. “It is clear,” he added, “that representing this character in a culturally accurate way holds significance for people, and that to neglect this responsibility would continue a worrying tendency to obscure ethnic minority stories and voice in the arts.”

“我接受这个角色时并不知道漫画原著中的角色有亚洲血统,”斯克林在声明中说。“显而易见,在文化上准确地呈现这一特征对于人们具有重要意义,忽视这一责任将延续一种令人担忧的倾向,即在艺术中掩盖少数族裔的故事和声音。”

The Ghosts of the Confederacy

南方邦联的幽魂

“The Handmaid’s Tale” and “The Man in the High Castle” may have been embraced by some as perversely inspirational tales of resistance to the Trumpian present. But the vogue for high-concept historical what-ifs ran into a brick wall of a different kind of resistance in July when HBO unveiled plans for “Confederate,” a new series from the lauded creators of “Game of Thrones” set in an alternative present in which the South had successfully seceded and slavery was still legal.

《使女的故事》和《高堡奇人》(The Man in the High Castle)可能被一些人视为是对特朗普倔强而鼓舞人心的反抗。但是高度概念性架空历史的故事在7月份撞上了另一堵砖墙,当时HBO台推出了《联盟国》(Confederate)计划,这是来自《权力的游戏》(Game of Thrones)备受赞美的两位主创的新系列,讲述南方成功脱离合众国,奴隶制在那里依然合法的架空历史。

The media activist April Reign, the creator of the #OscarsSoWhite hashtag, started a #NoConfederate campaign, which flooded Twitter during Season 7 of “Game of Thrones.” Despite the involvement of two well-regarded black writer-producers, the show was dismissed by skeptics as Lost Cause nostalgia dressed up in progressive prestige-cable clothing, or even “slavery fan fiction.”

媒体行动人士爱普瑞尔·雷涅(April Reign)是“#OscarsSoWhite”(奥斯卡太白了)主题标签的创建者,这一次,他开展了一场以“#NoConfederate”(不要邦联)为标签的运动,在《权力的游戏》第七季开播之际涌入了Twitter。尽管该片有两位颇受好评的黑人作家兼制作人参与,但它仍然遭到怀疑论者的批驳,称其只是披着进步派有线电视权威外衣的败局命定论(Lost Cause)怀旧片,甚至是一部“奴隶制粉丝作品”。

Trolling Taylor Swift

围剿泰勒·斯威夫特

First they came for Pepe the Frog, New Balance shoes and Jane Austen. But when the alt-right came for Taylor Swift, things (as all things Taylor tend to do) got complicated.

他们先是看上了青蛙佩佩(Pepe the Frog)、新百伦(New Balance)鞋和简·奥斯汀(Jane Austen)。但是,当另类右翼分子又看上泰勒·斯威夫特(Taylor Swift)的时候,事情变得复杂了(和斯威夫特有关的一切都是如此)。

The white nationalists’ appropriation of the singer first drew headlines in 2016, when the editor of the Daily Stormer called her “a pure Aryan goddess.” It came crawling out of the grave again in August, when Breitbart News mysteriously spent a day tweeting out lyrics from her single “Look What You Made Me Do.”

白人民族主义者对这位歌手的挪用在2016年首次成为新闻,当时“每日风暴”网站(Daily Stormer)的编辑称她为“纯粹的雅利安女神”。这种挪用于8月份再次爬出坟墓,当时布莱巴特新闻网站(Breitbart News)神秘地用了一天的时间在Twitter上发她的单曲《看你让我做了什么》(Look What You Made Me Do)的歌词。

Then in November, after the album “Reputation” was released, a blogger for the obscure site Pop Front called for Ms. Swift to explicitly repudiate white nationalism, and suggested that her music might be a gateway drug for Nazi-curious young fans.

到了11月,斯威夫特发了新专辑《名声》(Reputation)之后,一个名叫流行前沿(Pop Front)的博客要求她明确否定白人民族主义,并提出她的音乐可能成为对纳粹感到好奇的年轻粉丝们的入门毒品。

Ms. Swift’s lawyers sent a letter to the blogger demanding a retraction, only to get a rebuke from the American Civil Liberties Union of California, criticizing what it called an effort to suppress constitutionally protected free speech. A few weeks later, The Guardian ran an editorial suggesting that Ms. Swift, with her feud-prone ways (and social media army of rabid fan enforcers), was “an envoy for Trump’s values,” if not necessarily a Trump supporter.

斯威夫特的律师写信给该博客作者,要求他删除这篇文章,结果只是遭到加利福尼亚州美国公民自由联盟(American Civil Liberties Union of California)的指责,称这种行为是在压制受宪法保护的言论自由。几周后,《卫报》(The Guardian)发表了一篇社论,认为斯威夫特虽然不一定是特朗普本人的支持者,但她那些容易引起争执的方式(以及社交媒体上捍卫她的疯狂粉丝们)是“特朗普式价值观的使者” 。

That editorial drew baffled reactions, but the question remains, When it comes to politics, how long can Taylor refuse to come to the phone?

社论引起了人们困惑的回应,但是问题仍然存在,谈到政治,泰勒能够拒绝接听电话多久?

Country Music Grapples With Guns

乡村音乐与枪支做斗争

Mainstream country music generally steers clear of politics, beyond heartwarming tributes to America and the occasional rabble-rousing patriotic song. But after the mass shooting at a festival in Las Vegas in October left 58 fans dead and 500 more wounded, some cracks in the industry’s solidarity with American gun culture began to appear.

除了对美国温暖的致敬与偶尔煽动群众的爱国歌曲,主流乡村音乐普遍回避政治。但是10月在拉斯维加斯举行的一场乡村音乐节上出现了大规模枪击事件,58名歌迷死亡,500多人受伤,这个行业对美国枪支文化的一致支持开始出现了一些裂缝。

A few stars, including Blake Shelton and Florida Georgia Line, issued statements distancing themselves from the National Rifle Association. Before the Country Music Association Awards, the group’s threats to revoke the credentials of any journalist who attempted to talk about “the Las Vegas tragedy, gun rights, political affiliations or topics of the like” drew intense criticism from artists, suggesting not everyone wanted to shut up and sing.

包括布莱克·谢尔顿(Blake Shelton)和“佛罗里达-佐治亚铁路线”(Florida Georgia Line)在内的几位明星发表了与国家步枪协会(National Rifle Association)划清界限的声明。在乡村音乐协会奖(Country Music Association Awards)颁奖之前,该组织威胁说,任何试图谈论“拉斯维加斯悲剧、持枪权、政治派别或类似话题”的记者,都会被取消采访资格,这激起了艺人们的强烈批评,并不是每个人都想不问时事,只管唱歌。

The show opened with a somber tribute to the victims of the shooting and the hurricanes in Texas, Florida and Puerto Rico, but no one went full Dixie Chick, or even mildly Meryl Streep. Instead, the hosts, Brad Paisley and Carrie Underwood, who had started out by declaring the show a “politics-free zone,” offered up “Before He Tweets,” a lighthearted parody of Mr. Trump’s Twitter habits to the tune of Ms. Underwood’s “Before He Cheats.”

演出开始时对德克萨斯州、佛罗里达州和波多黎各的枪击事件及飓风的受害者表示沉痛的哀悼,但是没有人效仿“迪克西小鸡”(Dixie Chick)甚至温和版梅丽尔·斯特里普。相反,主持人布拉德·派斯利(Brad Paisley)和凯莉·安德伍德(Carrie Underwood)一上来就宣布这次演出是“无政治区”,然后就唱了一曲《他发推前》——用安德伍德的歌《他背叛前》(Before He Cheats)揶揄了特朗普的刷推嗜好。

#MeToo Versus Hollywood

#MeToo(我也是)标签对抗好莱坞

As the list of the men felled by allegations of sexual harassment and assault grew longer, the Weinstein Effect was shadowed by what might be called the Louis C. K. Conundrum. The offending men were gone (for now at least), but was it still O.K. to like — or even look at — their work?

被指控性骚扰和性侵犯的男人变得越来越多,“韦恩斯坦效应”的光彩可能会被“路易·C·K难题”遮盖。那些东窗事发的男人们已经离开(至少暂时如此),但是我们还能够喜欢——甚至是观看——他们的作品吗?

While fans debated the politics of erasure, corporations made some of the decisions for us, for their own reasons, as books, television shows, movies and other projects were canceled or altered. Facing the social media calls for a boycott of the upcoming movie “All the Money in the World,” Sony spent about $10 million to reshoot 22 scenes with Christopher Plummer in which Kevin Spacey (who was accused of multiple incidents of sexual misconduct, including sexual assault of a minor) had appeared.

当粉丝们讨论全面清除是否明智的时候,企业出于自己的原因替我们做出了一些决定,一些书籍、电视剧、电影等项目被取消或改变了。面对社交媒体上抵制即将上映的电影《金钱世界》(All the Money in the World)的呼声,索尼斥资约1000万美元,重新与克里斯托弗·普拉默(Christopher Plummer)合作,拍摄了22个有凯文·斯派西(Kevin Spacey)出现的场景,斯派西被指有过多次不当性行为,包括性侵未成年人。

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