If a director only shoots "one film" in his life, then there is no doubt that Spike. Li can be regarded as one of the most hard-core and persistent ones. Racial issues are always at the core of his creations, and he never shy away from expressing political demands in his films through radical means.
Spike. In "BlacKkKlansman", Lee once again carried out a biting satire and criticism of "The Birth of a Nation" and "Gone with the Wind". As early as 1980, Spike. While still in the MFA program at NYU, Lee made the short film "The Answer," about an African-American screenwriter hired by a major production company to remake "One" because it allegedly offended "one of the best American filmmakers." Father "Griffith, Spike. Li was nearly expelled from the school. The 2000 satirical comedy "Bamboozled," which ended with a six-minute montage of stigmatized black people in 20th-century American cinema, also featured "One." Spike. Li once pointed out a problem in the interview. When people (including film school teachers) mentioned "One", they usually praised Griffith's contribution to film narrative, photography, editing and its status in film history, but few people The film's narrow racist ideological expression sparked a second Ku Klux Klan revival (1915-1944).
"Three" avenged Griffith and "One" in a more direct, rebellious way: "One" was adapted from Thomas. Dixon (a Baptist minister who believes in white supremacy)'s novel "The Kindred", from a white perspective, depicts the Ku Klux Klan as heroes, defeating the vulgar and evil black militia, and saving the people from water and fire; "Three" is adapted from Luo kindness. A memoir by Stallworth (the first black officer recruited by the Colorado Springs Police Department), from a black perspective, about how a black officer infiltrated the KKK, earned trust, and stopped terror story of the attack, thereby deconstructing the "logic of extreme racism". Many black people in "One" are played by white actors, especially the roles opposite white actresses; "Three" uses identity replacement and audio-visual dislocation to make white police officers pretend to be black police officers (both use the same name). ), the black Ron was in charge of the layout on the phone, and the white Ron was the one who successfully infiltrated the Ku Klux Klan. The film uses this to directly attack the absurdity of racism-can you really tell the difference between blacks and whites just by hearing? ? Since it is not clear, why discriminate against blacks to highlight the superiority of whites? The parallel editing of the climax of "One" pits whites and blacks against the binary; "Three" also uses parallel editing in the climax of the climax, with blacks telling the story of Jesse in 1916. The scene where Washington was wrongly convicted and lynched, while the KKK watched "One" to celebrate and plan a terrorist attack, and history repeats itself at this moment; The Ku Klux Klan in "Three" ended bleakly in self-inflicted suffering, while the film tried to propose a solution to the racial conflict, that is, mutual recognition and cooperation. If put into martial arts novels, Spike. Li Yanran incarnates Murong Fu who "uses the way of the other person and repays the body of the other person".
"Three" reproduced Spike. Lee's audio-visual language with a strong personal style is known as "Spikeism". Spikeism is a way of consciously attracting the audience's attention by means of visual embellishment or exaggeration. There is a scene in the first half of the film, where the activist Stockley comes to the city of Springs to speak to local black students, and the director makes an unconventional treatment in the use of stereotyped cross-cuts - as the topic deepens and the speaker With the progression of emotions, in the dark background of the picture, a close-up of the audience illuminated by the lights emerges. These black students were awakened from the darkness, giving the speaker a strong identity and the values he conveyed. The director's iconic double dolly shot reappears at the end of the film. Ron and Patrice look like they are standing on a conveyor belt, raising their guns and sliding towards the camera quickly, just like the incarnation of male and female thieves "Bonnie and Kee." Ryder".
The film grafts satirical comedy and detective genre, makes realistic criticism while ensuring viewing, and expresses anger and worry about the racial conflict that still exists in the United States (controlled by conservative forces led by Trump). But there are still problems with the play and performance - the characters of Ron and Patrice are too flat, their characters are not prominent, they have become symbols of the black affirmative movement, and the performances of the two actors have not helped the characters to be more three-dimensional. So that the impression of the two characters is still vague after watching it. The end of the film is also highly controversial, Spike. Lee inserts a documentary clip of the violent Charlottesville attack after the story, which is shocking enough but undercuts the film's irony and integrity, turning it into an outrageous catharsis. The satire of the film would be even stronger if it ends with the Ku Klux Klan's wayward explosion.
Accompanying the film's Western-style soundtrack, Spike. Li used the attitude of Red Dead Redemption to act as a chivalrous person and enjoy his revenge, and achieved a unilateral victory over Griffith.
(Reproduced from https://p-articles.com/critics/832.html?fbclid=IwAR2H8MEUr0NQ4ImxkFzQ9Tv0aFpg12hw8VHJE05jZTPxDH0lDdcFZAieGFM )
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