这28部影片充满各种人物,讲述的是具有世界历史意义或流行文化意义的男女,他们以不可思议的决心面对似乎难以忍受的压迫,他们受到迫害或残酷对待,有时他们也残酷地对待别人。
What they’re not full of is characters who resemble ordinary people. And when such people do make an appearance, the camera tends to linger on the parts of their lives most likely to interest white Americans struggling to reckon with their country’s racist past. We learn all about Miss Daisy — her son, her childhood, her politics. But we hear only a sentence or two about the family of her driver (Morgan Freeman). Similarly, there’s a lot of information about Billy Bob Thornton’s Hank in “Monster’s Ball.” But watching Halle Berry as the bereft Leticia Musgrove, we see only her wretchedness, and her eventual rescue by a white man.
这些影片所缺乏的角色是普通人。当这样的角色确实出现时,摄像机似乎停留在他们最可能引发美国白人反思美国种族主义历史的那部分生活。我们非常了解黛西小姐——她的儿子、童年和政治立场。但我们只听到一两句台词是讲述她司机(摩根·弗里曼饰)的家庭。类似地,《死囚之舞》(Monster’s Ball)中有很多关于比利·鲍勃·桑顿(Billy Bob Thornton)饰演的汉克(Hank)的信息,但是关于哈莉·贝瑞(Halle Berry)饰演的失去亲人的莱蒂西娅·马斯格罗夫(Leticia Musgrove),我们只知道她很不幸,最后得到一个白人男性救赎。
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