Abstract

Juliano Dornelles and Kleber Mendonça Filho’s Bacurau (2019 Bacurau. Directed by Kleber Mendonça Filho and Juliano Dornelles. Kino Lorber, 2019. [Google Scholar]) was released to significant hype in Brazil and around the world. The film has been widely received as an interpretation of Brazilian society as plagued by the ravages of predatory global capitalism and U.S imperialism combined with the ineptitude and corruption of the national political class, leading to a fantasy of ultra-violent uprising by the people of the interior. Although the film was criticized from the political right and center as propagandist or as defending unacceptable violence, it has received little critique from left perspectives. In addition, numerous reviews and an increasing body of scholarship have noted that Bacurau draws on a variety of film genres such as the Western, science fiction, and horror to produce its highly reflexive text, but relatively little has been done to interpret its engagement with horror. This essay shows how Bacurau’s incorporation of resources from horror cinema reveals a problematic centering of whiteness within a project that presents itself as anti-racist.

摘要

Juliano Dornelles 和 Kleber Mendonça Filho 的Bacurau ( 2019 巴库劳。由 Kleber Mendonça Filho 和 Juliano Dornelles 执导。奇诺·洛伯，2019 年。 [谷歌学术搜索] ) 的发布在巴西和世界各地引起了极大的轰动。这部电影被广泛认为是对巴西社会的一种诠释，它饱受掠夺性的全球资本主义和美帝国主义的蹂躏，再加上国家政治阶层的无能和腐败，导致巴西人民幻想进行极端暴力的起义。内部的。尽管这部电影被政治右翼和中间派批评为宣传或捍卫不可接受的暴力，但它很少受到左派观点的批评。此外，许多评论和越来越多的学术研究表明Bacurau借鉴了各种电影类型，如西部片、科幻小说和恐怖片来制作其高度反思性的文本，但在解释其与恐怖片的接触方面所做的工作相对较少。这篇文章展示了Bacurau对恐怖电影资源的整合如何揭示了一个自称为反种族主义的项目中白人中心化的问题。