WEKO3
アイテム
Candyman, the Specter of Past, Present, and Future: The Analysis of Candyman(2021) through Hauntology
https://chuo-u.repo.nii.ac.jp/records/17836
https://chuo-u.repo.nii.ac.jp/records/17836f58228df-41d9-4204-bd0e-fa9f6a722bb6
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
本文を見る (609.8 kB)
|
|
| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||
|---|---|---|---|---|---|---|---|---|
| 公開日 | 2022-12-23 | |||||||
| タイトル | ||||||||
| タイトル | Candyman, the Specter of Past, Present, and Future: The Analysis of Candyman(2021) through Hauntology | |||||||
| 言語 | en | |||||||
| 言語 | ||||||||
| 言語 | eng | |||||||
| キーワード | ||||||||
| 言語 | en | |||||||
| 主題Scheme | Other | |||||||
| 主題 | Candyman | |||||||
| キーワード | ||||||||
| 言語 | en | |||||||
| 主題Scheme | Other | |||||||
| 主題 | hauntology | |||||||
| キーワード | ||||||||
| 言語 | en | |||||||
| 主題Scheme | Other | |||||||
| 主題 | trauma | |||||||
| キーワード | ||||||||
| 言語 | en | |||||||
| 主題Scheme | Other | |||||||
| 主題 | slavery | |||||||
| キーワード | ||||||||
| 言語 | en | |||||||
| 主題Scheme | Other | |||||||
| 主題 | neoliberalism | |||||||
| 資源タイプ | ||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||
| 資源タイプ | departmental bulletin paper | |||||||
| 著者 |
WAKE, Issei
× WAKE, Issei
|
|||||||
| 著者別名 | ||||||||
| 識別子Scheme | WEKO | |||||||
| 識別子 | 59734 | |||||||
| 姓名 | 和氣, 一成 | |||||||
| 姓名 | ワケ, イッセイ | |||||||
| 言語 | ja-Kana | |||||||
| 抄録 | ||||||||
| 内容記述タイプ | Abstract | |||||||
| 内容記述 | In sharp contrast to Candyman (1992), Candyman (2021) does not present Anthony (the protagonist) as someone pathologically sick who irrationally lets his anger and anguish out on those around him. Anthony dies a “hero” who protects his girlfriend Brianna from white brutal police officers even after becoming incarnated into Candyman himself. In the ending, as Daniel Robitaille and Anthony McCoy have seemingly amalgamated into the Candyman, Tony Todd’s visage Candyman commands Brianna/viewers as witness to “Tell everyone” so that the legend of Candyman remains alive. Instead of being exaggeratedly deified or dehumanized, Candyman (2021) “chooses” to look to the collective for accountability or aid, providing a new path to live in the memories of Black community by rewriting their own narrative. Most importantly, Candyman (2021) differs from the original version in that in the original version, the actual Candyman killer is unseen, “both vilified (condemned without trial) and forgotten (neutered by the fantasies of white academics) (Michael J. Blouin, 97), whereas conversely, the newest version profoundly scrutinizes the unsavory internal racial mechanisms, tracking the detailed histories of those who repeatedly incarnated into Candyman. The former gives Black men a number of mythical roles, yet the latter succeeds in humanizing them. As to the representation in Candyman (2021), Black characters are no longer invisible “victims” to be save by while charity, but they find their way in the Afrofuturistic ideas. | |||||||
| 書誌情報 |
人文研紀要 巻 103, p. 1-36, 発行日 2022-09-30 |
|||||||
| 出版者 | ||||||||
| 出版者 | 中央大学人文科学研究所 | |||||||
| ISSN | ||||||||
| 収録物識別子タイプ | ISSN | |||||||
| 収録物識別子 | 0287-3877 | |||||||
| 権利 | ||||||||
| 権利情報 | この資料の著作権は、資料の著作者または学校法人中央大学に帰属します。著作権法が定める私的利用・引用を超える使用を希望される場合には、掲載誌発行部局へお問い合わせください。 | |||||||
| フォーマット | ||||||||
| 内容記述タイプ | Other | |||||||
| 内容記述 | application/pdf | |||||||
| 著者版フラグ | ||||||||
| 出版タイプ | VoR | |||||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||||
