A Critical Analysis of “White Savior” in the Film Green Book文献综述

 2021-11-04 20:59:37

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文 献 综 述1.Research BackgroundWith the rich and colorful entertainment life of people, many far-reaching excellent films gradually come into peoples sight. The 91st Academy Awards winners were announced, released by Huaxia, and the Green Book jointly produced by Ali Pictures won the best film, Best Original Script, Best Supporting Actor, etc.The film was inspired by the Green Book, a travel guide for blacks published in the 1960s. The film is adapted from real life. Tony is a loftier and unrelenting racist. Don Shirley is a black pianist who appears to be popular in the upper white circles. There are also high requirements for food and clothing. The background of film is set in 1962, which is an era touting white supremacy. He was welcomed by upper-class whites, but he was never really treated equally, and he was also very different from his own ethnic group.All the people are full of discrimination against black people. The film has a lot of details that are deeply imprinted on that era and also a deep rendering of the story. The White Savior is a cinematic trope in which a white character rescues non-white characters from unfortunate circumstances. This trope appears in an array of genres of films in American cinema, where in a white protagonist is portrayed as a messianic figure who often learns something about him or herself in the course of rescuing non-white characters from their plight. As such, White Savior stories have been described as "essentially grandiose, exhibitionistic, and narcissistic" fantasies of psychological compensation. Oscar's best film "Green Book" essentially follows the narrative of "White Savior", critics point out that it is a black film made by whites for whites.2.Research purposeSince the rise of affirmative action in the 1960s, such as the Green Book's discriminatory acts and unjust laws against black people have gradually disappeared, but traditional white people still have the idea of "White Supremacy", such as the diffuse of the series of superheroes in the Granville series reveals conservative narratives, revealing various issues of American supremacy, racial equality, white supremacism, and ubiquitous political unconsciousness and cultural hegemony.Although the Green Book is an Oscar-winning word-of-mouth movie, it is still unconventional. The film presents black characters and black history through the perspective of a kind white man. In fact, regardless of the social status and wealth of the black characters in the play, how perfect is the weak status of the social class.This White Savior movie is a far more harmful form of racist discrimination.As we all know, true equality does not require any label to reflect its identity and status. Don Shirley, a well-educated pianist in the high society, may not be the son of choice in the film, but Tony, a poor and improper Italian driver, has saved those can't get rid of skin-colored tags forever. Black races are always unable to save themselves in difficult situations, and often an ordinary white person can step in and save them as the protagonist. This article analyzes the disparity between the roles of black and white people in the film-Green Book, but it is the White Savior and racist thought of White Savior directed by the film to the mass media.3. Literature review Although the United States is an immigrant country with a melting pot culture, discrimination against people of color still exists in society. The black character Don Shirley in the Green Book, in real life, in addition to his identity as a master of music, is also an activist who is actively committed to racial equality. In the film, it was adapted into a ridiculous figure completely out of black culture and black and white. The difference between the image of "high man" in the mainstream white society is only the color. The intent of this functional role setting is that it does not really promote racial equality. Black Don Shirley's so-called "elegance" and "decent" are defined by white mainstream society. The view conveyed by the film is "Look, a few people of color can be regarded as" higher people "in our white society." Please dont discriminate against them simply because of their skin color." Instead of showing the true black culture of the United States, tell the audience that "Every culture and every race is equal, and a White Savior is not desirable."James Baldwin, a famous American African-American cultural critic, was an important American novelist in the mid-twentieth century. The harm of this kind, as well as the attention to the production of pop art, such as music and film, and their ideological characteristics, the achievements in this field are equally remarkable. As a more intuitive visual art form, film provides a good medium for Baldwin's literary and cultural criticism. Baldwin believes that some classics depicting ethnic conflicts in American films incorrectly adopted European themes and images of blacks and whites, in fact they were legalizing the mass killings of blacks, and whites that American society must face up to the relationship between black people and their problems are further highlighted. Baldwin believes that "for black people, of course it is best not to believe what you see in the movie", as a black song sings: "I don't believe what you say, because I know you all what did you do?"This insight has become the consensus of many black people. The White Savior complex reflected in the Green Book happened to make black people see the racist ideas under the whitewash of these characters. Bob Win once believed that the most representative scene of the relationship between blacks and whites appeared in The Defiant Ones (1958) starring Podil, and he talked on many different occasions about the relationship between blacks and whites processing and acceptance. In the film, two black and white prisoners are locked together and become "brothers". When the black prisoner Noah Cullen played by Podil had a chance to escape, he volunteered to save his white "brother". Viewers have two opposing views on this. When they saw the black man played by Podil jumped off the train to rescue the white Tony Curtis, they all took a deep sigh of relief and applauded, "They think this is a kind of very noble black people. Very noble gesture." However, the black audience roared angrily at Bodier: "Come back on the train, you are an idiot "." Baldwin later explained that the black audience's reaction did not mean that they hated Bodier, they just couldn't accept it, a false design. Films always stand on blacks from the perspective of a kind white man, as a savior, as if such false racist ideas are not acceptable to black groups.Because this movie is intended for white people, there is really nothing to say to black audiences. Apart from demonstrating the authority of Sidney's performance, nothing is presented to black audiences. "Bobwin always carefully observes the differences between the film and the film. He believes that some White Saviors in the film are misunderstood racism that the film spreads to the public. Baldwin believes that the American film industry is an artist the waste of talent, time and money is even more pity for black artists, because he can only play some roles that others have set for him. Although some changes have started to occur in recent years, "It is indeed very ironic that the United States of black artists need to fulfill their responsibilities as artists and at the same time must fulfill their responsibilities as citizens "and these two points are sometimes contradictory and difficult to balance. Therefore, it can be seen that Bob Winn's understanding and opinions are very sharp and timely..According to Matthew Shuy, the "White Savior" is a common image in Hollywood movies, which contains the plot paradigm of white characters saving people of color. These white characters are often trapped or endangered in their lives, but they still assume the responsibility of leading, guiding the roles of people of color, and saving them or helping them get moral redemption. Hernan Villa and Andrew Jordan consider the nature of such images to be a "psychologically compensatory illusion". And Chinese scholar Ju Wei mentioned that, as Hernan and Andrew said, Tony's help to Don Shirley was more like to a psychological compensation of his own, because he protected Don Shirley's personal safety and helped him rebuild his identity and confidence, Tony also won back his dignity because of economic and cultural disadvantages. However, if you think about the so-called "White Savior", it is not difficult to find that the "savior" has not really "saved" black people. As Tony himself said, he is more "black" than Don Shirley. Indeed, Don Shirley's educational background, cultural accomplishment, and economic strength made him look more like a white elite with black skin. The "salvation" of the "White Savior" is often a compromise escape. In the Green Book, when Don Shirley was trapped in a white bar, or he was handcuffed by police because of his intimacy with the same sex, Tony used a roundabout or evasive method to relieve the dilemma. He either threatened the troublemaker with a gun or bought police officers with money, but in the end he took Don Shirley out of "where he shouldn't go." At the last stop of the tour, Tony also failed to change the decision of the white manager, but took Don Shirley to the black bar. The core issue of race has never been squarely addressed and resolved, and Tony's "rescue" is to take Don Shirley to "retreat" to the black community. The Green Paper is not a suture for racial fissures in the United States, but a poor patch over it.Ju Wei scholar analyzes the White Savior phenomenon appearing in the Green Book, and then compare it with another magical black film plot paradigm, criticizing the stereotypical paradigms common in Hollywood racial issue movies, presenting black characters and black history downplayed the racial issue in history and whitewashed reality with an exceptional case. Essentially, race issues are neatly discussed in a way that is bleached and acceptable to white mainstream society.4.ConclusionThe research significance of this article lies in the critical analysis of the White Savior's racist ideas in the Green Book, so that readers can better understand the historical and political background of the film; understand the current political environment and ethnic culture and the historical origins of racism in the United States. By criticizing the racist ideology of the White Savior to better criticized the film. In this way to achieve a better perspective of critical film. But there are still shortcomings. The metaphors in the Green Book reflect the spirit of White Saviors in Oscar-winning films, but the spirit of White Saviors or white supremacy is also reflected in all aspects of American society. It is not enough to criticize to understand this new racist idea of the White Savior. It is necessary to learn more professional critical angles and multi-faceted cultural factors to understand the Oscar image of the Green Book.5.ReferencesBrooke, O. (2018). Green Book is a Poorly Titled White Savior Film, 6, 11-15.Elizabeth Ellsworth (1987), Fiction as Proof: Critical Analysis of the Form, Style, and Ideology of Educational Dramatization Films, Research Gate, Retrieved January, from https://www.researchgate.net/publication/23456877 4.Feinberg, S. (2019). 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