ABSTRACT

This article studies the carnivalesque subversion of oppressive systems using the narrative gaze of children in Taika Waititi’s three films, Boy (2010), Hunt for the Wilderpeople (2016), and Jojo Rabbit (2019). Waititi has a wide range of filmography to his assets and his films, while comically articulating his politics, incorporate new vocabularies to tackle various forms of oppression. The selected films are of both local and international nature, and they voice their politics through the varying presence of carnivalesque motifs of subversion. The current paper attempts to investigate them using Bakhtin’s theory of the carnivalesque. By arguing that these films are a vehicle of his personal and political credence, this paper attempts to bridge the gap in theorizing Waititi’s filmography despite being critically acclaimed.

摘要

本文利用泰卡·维蒂蒂 (Taika Waititi) 的三部电影《男孩》 (2010)、《猎杀野人》 (2016) 和乔乔·兔子中儿童的叙事凝视研究了对压迫系统的狂欢式颠覆（2019）。怀蒂蒂在他的资产和他的电影中拥有广泛的电影作品，在滑稽地表达他的政治的同时，融入了新的词汇来应对各种形式的压迫。入选的电影既有本土性的，也有国际性的，它们通过不同的狂欢式颠覆主题表达他们的政治立场。目前的论文试图使用巴赫金的狂欢节理论来研究它们。通过论证这些电影是他个人和政治信任的载体，本文试图弥合在韦蒂蒂的电影摄影理论化方面的差距，尽管它受到了广泛的好评。