从刻板印象理论看电影《撞车》中的种族形象

ContentsChineseAbstract 2EnglishAbstract 31.Introduction 41.1ResearchBackground 41.2ABriefIntroductiontoPaulHaggisandtheMovieCrash 51.3Outline 62.LiteratureReview 62.1.StudiesAbroad 62.2.StudiesatHome 73.StereotypeTheory 93.1TheDefinitionandClassificationofStereotype 93.2StereotypeModels 103.2.1TheContentModelofStereotype 103.2.2TheCognitiveModelofStereotype 103.2.3TheRepresentationModelofStereotype 114.AnalysisofStereotypesintheMovie 124.1TheStereotypesBetweenBlacksandWhites 124.2TheStereotypesoftheColoredbyWhites 14.3TheStereotypesamongtheColored 15.CausesofStereotypesintheFilm 155.1InnerFear 155.2Language 165.3Ethnocentrism 176.IntentPassedbyStereotypesintheFilm 176.1TornSocietyCausedbyCultureConflict 176.2DesireforHealingSocialPain 187.Conclusion 20References 21从刻板印象理论看电影《撞车》中的种族形象摘要《撞车》是一部关于文化冲突的影片，曾获得第78届奥斯卡最佳影片奖，是研究美国种族问题的绝佳素材。影片以独特的“冲突”视角审视了美国社会的种族问题，将不同种族之间形成的刻板印象作为种族冲突问题产生的关键因素。因此，利用刻板印象理论分析影片成为解构电影中反映的种族冲突问题的重要途径。文章通过分析白种人与黑种人之间、白种人对有色人种、有色人种之间等的存在的根深蒂固的刻板印象，揭示出不同种族之间形成刻板印象的原因是由于人们内心对异族人或他们的行为产生的恐惧，不同的语言交流存在障碍和种族中心主义造成的各民族之间的互相蔑视，并在此基础上分析出影片的创作目的在于向观众展示因文化冲突带来的社会撕裂，以及对治疗这种社会病的渴望。关键词：种族形象；刻板印象理论；文化冲突StereotypesinCrashfromthePerspectiveofStereotypeTheoryAbstractCrash,winningthe78thAcademyAwardforBestPicture,isafilmaboutculturalconflictanditisanexcellentmaterialforstudyingAmericanrace.ThefilmexaminesracialissuesinAmericansocietyfromaunique“conflict”perspective,usingstereotypesbetweendifferentracesasakeyfactorinracialconflict.Therefore,usingstereotypetheorytoanalyzethefilmhasbecomeanimportantwaytodeconstructtheproblemofracialconflictinthefilm.Byanalyzingtheinveteratestereotypesbetweenwhitesandblacks,thecoloredbywhites,andamongthecolored,thispaperrevealsthatthereasonsforthestereotypesbetweendifferentracesaretheinternalfearofaliensortheirbehavior,differentlanguagecommunicationbarriersandthemutualcontemptamongdifferentethnicgroupscausedbyethnocentrism,thenitdisplaysthepurposeofthefilmistoshowtheaudiencethesocialtearcausedbyculturalconflictsandthedesireforhealingsocialpain.Keywords:Stereotypes;StereotypeTheory;CulturalconflictsIntroduction1.1ResearchBackgroundMovieshavealwaysbeenlovedbypeopleasaformofentertainment.Itnotonlygivespeoplevisualandpsychologicalrelaxation,thecontentofthefilmisalsoclosertopeople’slives,reflectingacertainsocialphenomenonorculturethathasdrawnpeople’sgeneralattentionandthinking.Thefilmconveyscultureandvaluestopeopleinamoreintuitive,accurateandshockingway,andchangeswiththedevelopmentoftimesandhistory.Therefore,onescholarpointsoutthat“moviesarevisualevidenceleftbyhistory”(叶英,2009:105).Moreover,thebestandfastestwayforapersontolearnaboutforeigncultureistowatchandresearchmoviesaboutthecountry.HollywoodfilmshaveplayedasignificantroleindescribingAmericancultureandhavehadanextraordinaryimpactintheworld.Americaisanimmigrantcountry,andagatheringplaceofdifferentnationalitiesandcultures.The2018censusdatashowthatthetotalUSpopulationisabout327million.Americanofficialscategorizeracesbasedonskincolor,ancestry,andplaceoforigin:WhiteEuropeansaccountfor62.1%ofthetotalpopulation;Hispanicsaccountfor17.4%;AfricanAmericansaccountfor13.2%;Asiansaccountfor5.4%;andmixedracesaccountfor2.5%.ItcanbeseenthatwhitesareregardedasthemainraceintheUnitedStates,andthatotherethnicgroups,includingHispanicwhites,arecalledminorities.Becausepeopleofallskincolorsplaydifferentimportantrolesinthenation-buildingandhistoricaldevelopmentoftheUnitedStates,theyhavedifferentexpectationsforsocietyandothers.Especiallywiththepassageandprecipitationoftime,theracialdiscriminationhasnotbeencompletelyeradicated,untiltoday,itstillaffectsthelivesofAmericancitizens.AreportissuedbytheU.S.StateDepartmentonSeptember21,2000acknowledgedthatalthoughthelawontheeliminationofracialdiscriminationhasbeenenactedfordecades,racialdiscriminationstillplaguesAmericansociety.“Whilemostwhitepeopledon’tthinkthereistoomuchracialdiscriminationintheUnitedStatestoday,mostminoritiesfeeltheoppositeinreallife”,thereportclaimed(Net.1).RacialdiscriminationintheUnitedStateshasalonghistory.IthasexistedsincetheUnitedStatesdeclareditsindependencein1776.Aftercenturiesofefforts,undoubtedly,greatresultshavebeenachievedtoday.ItcanbeseenfromthehugerepercussionsofObama'selectionintheUnitedStates,theblackandthecoloredworlds.ButtheUnitedStatesstillhasalongwaytogotothoroughlyeliminateracialdiscrimination.AsMartinLutherKingsaid,eliminatingracialdiscriminationisstilladream.Socialphenomenaandethnicconflictscausedbyracialissueshavealwaysbeenthefavoritethemesinfilmrealm.ThestoryoftheHollywoodmovieCrashhappenedinLosAngeles,abigcitymulti-ethnicandmulti-cultural,tellingaboutthevariouscontradictionsandreconciliationsbetweenpeopleofdifferentbackgrounds.ThefilmexaminesracialissuesinAmericansocietyfromaunique“conflict”perspective,usingstereotypesbetweendifferentracesasakeyfactorinracialconflict.ThisarticleisconducivetofurtherdiggingintothedeepermeaningofthemovieCrash,revealingthesuperbtechniqueshowninthefilmaboutracialissues,anddisplayingthevaluesheldbyAmericansinthemostintuitiveway,inordertofurtherclarifytheconflictvaluesofcontemporaryAmericansociety;itishelpfultofurtherunderstandthemanysocialproblemsanddilemmasAmericansocietyarefacing;itcontributestoadeepunderstandingofthedividedstateofAmericansociety,andforminganobjectiveimpressionoftherealUnitedStates.1.2ABriefIntroductiontoPaulHaggisandtheMovieCrashBeingaCanadiandirector,screenwriterandproducer,PaulHaggisisgoodatshowingthenegativecharacterofthecharacters,andisdedicatedtoexposingsocialdarknessandclasscriticism.HisfilmsCrash,InTheValleyofElahandThreeDaysofCrisisweredeeplyinfluencedbythe9/11incident,involving