من هم هذان الشخصان كان ترافيس يحدق؟

8

في بداية الفيلم ، Driver Taxi عندما

مجموعة Hassaan Salik 28.11.2017 / 21:00

1 الجواب

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فيلم وسيناريو

في ما يلي مشهد مطعم "داينر" (ترى الشخصين حول علامة 1:38 دقيقة):

                            

فيالنصالأصليلبولشريدر،تموصفمشهدالعشاءفيالمشاهد17إلى23(يصفالإصدار104صفحةعلىlc.nc.edu.twفيص.16و)وهنامقدمة:

It is 3:30 IN THE MORNING in a bacon-shaped all night WEST
SIDE REATAURANT. The thick smell hangs in the air - fried
grease, smoke, sweat, regurgitated wine.

Whatever doesn't flush away in New York at night turns up in
places like this. A burly grease-stained COOK stands over
the grill. A JUNKIE shuffles from one side of the door to
another. Slouched over the small four-person formica tables
are several WELL-DRESSED BLACKS (too well-dressed for this
time and place), a cluster of STREET PEOPLE and a lost OLD
COOT who hangs onto his cup of coffee as if it were his last
possession.

The restaurant, brightly lit, perfectly conveys the image
urban plasticity - without the slightest hint of an
accompanying cleanliness.

إذنهذاهوالجوالذيأرادتشرادرالتقاطه.يتبعسكورسيزيإلىحدكبير،لكنهانحرفهناك.فينصسكريدر،يحدقترافيسفيالهيبيز،وليساثنينمنالقوادين*.

معلوماتالخلفية

تصفTriciaRoseقوادينمثلهذافيTheHipHopWarsفيالفصل8:

ONE OF THE SIGNATURE ICONS that drives commercial hip hop is the pimp. An important facet of urban street cultures and illicit economies, and once relegated to folklore, underground vernacular culture, and the margins of mainstream society, pimps have become popularized and mainstreamed. Building on the glamorization of black pimp culture in blaxpoitation films of the 1970s and on the influence of raw sexual hierarchies exported from prison culture, many rappers began drawing from pimp culture, style, slang, and attitude as part of their identities.

يعرضالقوادالنمطيةثروتهالجديدة،علىأساسالدعارة،بطريقةمتطرفة.مايصفهروزيمكنرؤيتهفي50سنتفيعام2003م"P.I.M.P" من Get Rich أو Die Tryin ':

                            

التفسير

فيعام2016 article for IndieWire، Nick Santos by Quentin Tarantino by Taxi Driver:

“One of the criticisms that was labeled against the movie when it first came out – which was wrong, but very understandable for a lot of viewers to mistake – was that the film was racist. And actually the film is not racist at all, but it is a movie about a racist. Not only is the film about a racist, it’s [also] a first person study of a movie about a racist.

So actually, you do see the world through Travis Bickle’s eyes. And through those eyes, he makes, you know, the black pimps and the black characters on the street, they are repellant. He flinches away from them at all times. And since you are looking through his eyes, you do as well. One of things that actually could be crippling from the movie, thematically, you could even say it’s the film’s big flaw. Which, actually, by the end of the movie, doesn’t turn out to be.”

Cynthis Fuchs in her analysis of Taxi Driver on p. 704 من تحليل الفيلم :

From Travis's point of view, which becomes increasingly disturbed and constricted, anyone who looks "different" makes him uneasy.

في التحليل الخاص به هذا المشهد ، يكتب أكسل ديبنهام-ليندون:

The real notion of Travis’ racism come shortly after as the camera begins moving camera rising above a hunched over Travis anxiously glancing to the other side of the room. We cut to shot 8 dollying past a pair of pimps, Doughboy’s voice becomes slightly distant as Travis zones out, a pan back with shot 9 signals his return to the conversation. The racial implications are secondary to the visual effect as Scorsese uses this movement coupled with the sound to give the audience the impression of entering Travis’ subjective mental state.

روجر إيبرت في عام 2005 ، راجع ، حول استخدام Scorsese للحركة البطيئة:

But Scorsese was finding a personal use for it, a way to suggest a subjective state in a POV shot. And in scenes in a cab driver's diner, he uses closeups of observed details to show how Travis's attention is apart from the conversation, is zeroing in on a black who might be a pimp.

الخاتمة

هم على الأرجح قوادين ولا يظهرون فقط الفساد والفساد الذي يراه ترافيس كل يوم. في نص مسرحية Schrader الأصلية كان دورهم الوحيد ، الذي ذكرناه في البداية فقط. لكن سكورسيزي يركز عليها ويسمح لنا بإدخال عقل ترافيس وهو يحدق فيها ، وينسى كل تلك اللحظة من حوله.

ص. 20: "عيون ترافيس" تتجه نحو رعاة المطعم الآخرين. بوف: ثلاثة أشخاص الشوارع يجلس على طاولة. شخص واحد، رجم ، يحدق في الأمام. وفتاة جذابة جذابة ضع رأسها على كتف الآخر ، بشكل كبير رجل شاب ملتحي مع عصابة رأس. يقبلون كل شخص أخرى ، فقدت مؤقتًا في عالمهم المنفصل. يراقب ترافيس الزوجين الهبيين عن كثب ، مشاعره تنقسم بحدة بين الاحتقار الثقافي والغيرة الغريبة. لماذا يجب أن يتمتع هؤلاء الناس بالحب والألفة التي لديها دائما استعصى عليه؟ يجب أن يتمتع بهذه المشاعر schizoid ، لأن أعينه تسكن في الزوجين.

    
الجواب معين 29.01.2019 / 15:29