Помощник
Здравствуйте, гость ( Авторизация | Регистрация )
Цитаты форумчан
![]()
Сообщение
#1
|
|
![]() Тёмный JC-шник ![]() Группа: Участники Сообщений: 3768 Регистрация: 15.9.2009 Пользователь №: 16009 Награды: 4 Предупреждения: (0%) ![]() ![]() |
Кинематографическая вселенная Marvel: Железный человек || Невероятный Халк || Тор || Первый мститель || Стражи Галактики || Человек-паук: Возвращение домой || Мстители || Агенты Щ.И.Т. || Человек-муравей || Агент Картер || Доктор Стрэндж || Чёрная Пантера || Сорвиголова || Железный кулак || Джессика Джонс || Защитники ------------------------------------------------ ![]() Страна: США Год: 2016-... Режиссер: Пол МакГиган Канал: Netflix В ролях: Майк Колтер, Махершала Али, Симона Кук, Тео Росси, Элфри Вудард, Розарио Доусон и др. Получив суперсилу и почти полную неуязвимость в результате сорванного эксперимента, ошибочно обвиненный мужчина сбегает из тюрьмы, чтобы стать наемным супергероем. Сообщение отредактировал Ajien - 11.9.2017, 7:49 -------------------- " - Те люди, внизу, они живут по правилам, а толку? Их всё равно поглотил страх.
- А перестанут бояться и что? - Тогда всё просто. Выбираешь путь и идёшь без оглядки." (с) FaF III Nazareth – Games Комаров Кирилл – У входа в рай Peter Gabriel – Games Without Frontiers Воскресенье – Кто виноват Антонио Вивальди – Танец смерти (Escala Palladio) Андрей Миронов – Где ты была? Hammerfall – Last Man Standing Кукрыниксы – Холодно Disturbed – Indestructible |
|
|
![]() |
![]()
Сообщение
#2
|
|
![]() Trust the Force ![]() Группа: Jedi Council Сообщений: 14851 Регистрация: 14.7.2006 Пользователь №: 3009 Награды: 9 ![]() |
Изначально хотел вбросить эту замечательную статью в ЛГБТ-тему по вопросу того, как правильно показывать нормальных персонажей вне зависимости от их принадлежности к меньшинствам, но потом все же решил, что для зрителей "Люка Кейджа" она полезнее.
Цитата So much of the misunderstanding circling the show has revolved around Cage’s allegedly unnecessary reluctance to take the path of a hero, and that he comes across as too reserved, and too much of a blank slate. But this is the entire point of Cage’s characterization in this series, one that surrounds the question of what Cage’s ’70s moniker, Power Man, actually means in today’s world. As a blank slate, he exists as the first black man who can be anyone, undefined by past mistakes, social constructions, and the influence of media and pop-culture. The entire show is built on showcasing why Carl Lucas became Luke Cage after prison, and how that separates him from the black community but also makes him a figure worth rallying around. Even with his increasing notoriety as the neighborhood’s protector, Cage doesn’t want to be Harlem’s Captain America. When so many black people are used as symbols for politics, rallies, or diversity quotas, there’s something identifiable in the black man who just wants to stay out of the spotlight and live his life as a regular guy. But for blacks, regular-ness is nearly impossible to obtain, when so much of the media’s coverage of us stems from looking at us as the other, and from us looking at ourselves as the bearers of an artistry turned into stereotype.
[...] Cage is a man who doesn’t fetishize violence, or wealth, or accept pushing and gun-running as the means to escape the neighborhood. Instead, he buys into what has become a far too antiquated notion, that your choices are your own regardless of circumstance. That’s what all the series’ inclusion of talk about dressing for success and swear jars is all about—not a chastisement for sagging pants and language but a showcase that a choice exists and that young black men can define blackness on their own terms, outside of what the media perpetuates. [...] Luke Cage never attempts to suggest that innocence is inherent in blackness, a bold move considering how much of our news media have focused on the innocence of wrongly executed black men and women. As a show created by black voices, there’s no need to offer reparations to ourselves, which frees Luke Cage up to be honest. Not all black people have the interests of other black people at heart, as evidenced by Alfre Woodard’s false-faced councilwoman, Mariah Dillard. And not all cops are out to get us, though Simone Missick’s Misty Knight does face a crisis of conscience as her role as Detective pushed up against her role as a black woman. This isn’t a show about white evil, black on black crime, or villainizing the police, but a show where cops and blacks can be heroes and villains because racial relations and character motivation extend beyond what the news covers. [...] Luke Cage doesn’t coast on the topical statements of blackness that concern the general population, instead it delves into the deep blackness that requires more attention, thought, and a willingness to listen than tweets of protest and democratic votes. Luke Cage makes statements, just not the ones we’ve heard time and time again. Luke Cage is not Black Lives Matter the show, because if black lives really matter, then let our lives and our characters actually matter beyond being a political rallying point. Let us be flawed, hesitant, villainous, or heroic. Better yet, let us be blank slates so we can make that choice for ourselves. That’s the ballad of Luke Cage; that’s the freedom that comes with being nobody’s nigga. -------------------- "Невинный блаженец" © D.G.
Ilaan vanished – and took all the sounds and sources of light along. Only Ilaan remained. Down on his knees, an obedient servant of the Force, just like all those months ago. It spoke to him – and he listened, without saying a word. Out of his silence, the sounds and images appeared, filling the space around them, giving the reality its meaning and weight, just like clean white cloth that gradually becomes heavy with blood when it covers the body. |
|
|
![]() ![]() |
![]() |
Текстовая версия | Сейчас: 16.6.2024, 16:51 |