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題名 Mask in the Museum: The Impossible Gaze and the Indian Artifact in Verbinski`s The Lone Ranger
作者 柯瑞強
Corrigan, John Michael
貢獻者 英文系
關鍵詞 Western ;  camera consciousness ;  metacinema ;  metafilm ;  Indigenous ;  Native American
日期 2018-09
上傳時間 30-十二月-2019 15:13:08 (UTC+8)
摘要 This article analyzes the metacinematic structure of Gore Verbinski’s The Lone Ranger and argues that it celebrates a form of camera consciousness that subordinates, rather than liberates the Tonto figure. Anchoring the film’s narrative frame, the diorama of the ‘Noble Savage’ establishes an animation paradigm between a masked white child and a Native American statue that is at odds with aims to subvert the original Ranger narrative. The white child awakens the statue to life, and Verbinski imagines this older philosophical and aesthetic formula as an emerging cinematic process in which the film projector transforms individual film stills into the moving image. With this, the boy’s gaze is more than one perspective among many; it both infuses the moving picture with a vital energy and, within the layers of the narrative, this gaze is focalized in the figure of the Ranger himself as he subdues the wild West and the people therein. Instead of a multiplicity of voices and selves in conversation with each other, Verbinski’s form of camera consciousness thereby constitutes a totalizing celebration of technological modernity that aligns the Ranger’s perspective with the movements of the projector and subordinates the Native American within this pattern of visual correspondences.
關聯 New Review of Film and Television Studies, Vol.16, No.4, pp.393-414
資料類型 article
DOI https://doi.org/10.1080/17400309.2018.1519198
dc.contributor 英文系
dc.creator (作者) 柯瑞強
dc.creator (作者) Corrigan, John Michael
dc.date (日期) 2018-09
dc.date.accessioned 30-十二月-2019 15:13:08 (UTC+8)-
dc.date.available 30-十二月-2019 15:13:08 (UTC+8)-
dc.date.issued (上傳時間) 30-十二月-2019 15:13:08 (UTC+8)-
dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/128073-
dc.description.abstract (摘要) This article analyzes the metacinematic structure of Gore Verbinski’s The Lone Ranger and argues that it celebrates a form of camera consciousness that subordinates, rather than liberates the Tonto figure. Anchoring the film’s narrative frame, the diorama of the ‘Noble Savage’ establishes an animation paradigm between a masked white child and a Native American statue that is at odds with aims to subvert the original Ranger narrative. The white child awakens the statue to life, and Verbinski imagines this older philosophical and aesthetic formula as an emerging cinematic process in which the film projector transforms individual film stills into the moving image. With this, the boy’s gaze is more than one perspective among many; it both infuses the moving picture with a vital energy and, within the layers of the narrative, this gaze is focalized in the figure of the Ranger himself as he subdues the wild West and the people therein. Instead of a multiplicity of voices and selves in conversation with each other, Verbinski’s form of camera consciousness thereby constitutes a totalizing celebration of technological modernity that aligns the Ranger’s perspective with the movements of the projector and subordinates the Native American within this pattern of visual correspondences.
dc.format.extent 129 bytes-
dc.format.mimetype text/html-
dc.relation (關聯) New Review of Film and Television Studies, Vol.16, No.4, pp.393-414
dc.subject (關鍵詞) Western ;  camera consciousness ;  metacinema ;  metafilm ;  Indigenous ;  Native American
dc.title (題名) Mask in the Museum: The Impossible Gaze and the Indian Artifact in Verbinski`s The Lone Ranger
dc.type (資料類型) article
dc.identifier.doi (DOI) 10.1080/17400309.2018.1519198
dc.doi.uri (DOI) https://doi.org/10.1080/17400309.2018.1519198