偶像勵志英語演講 51:讓父母為你驕傲(11)
This is a huge deal because as people in the movie business know the absolute hardest thing inthe whole world is to persuade a straight male audience to identify with a womanprotagonist to feel themselves embodied by her. This, more than any other factor, explainswhy we get the movies we get and the paucity of the roles where women drive the film. It'smuch easier for the female audience because we were all brought up grown up, identifyingwith male characters from Shakespeare to Salinger. We have less trouble following Hamlet'sdilemma viscerally or Romeo's or Tybalt or Huck Finn or Peter Pan--I remember holding thatsword up to Hook--I felt like him. But it is much much much harder for heterosexual boys tobe able to identify with Juliet or Desdemona, or Windy in Peter Pan, or Joe in Little Women orthe little Mermaid, Pocohontas. Why? I don't know, but it just is. There has always been aresistance to imaginatively assume a persona, if that persona is a she. But things arechanging now and it's in your generation that we're seeing this. Men are adapting--about time--they are adapting consclously and also without realizing it for the better of the whole group.They are changing their deepest prejudices to accept and to regard as normal the things thattheir fathers would have found very very difficult and their grandfathers would have abhorred.
這一點相當重要，電影行業(yè)的工作者肯定知道，世界上最難的事就是讓正常性取向的男性觀眾在女性角色身上找到認同感，并認為他們在她的身上得到了體現(xiàn)。這個因素更能解釋我們選擇某部電影的原因，以及為什么在女性為主角的電影中角色會相對稀少。然而，這點對于女性觀眾來說更容易接受，因為我們從小到大接觸到的，從莎士比亞到塞林格的作品中，幾乎都是男性角色，因此理解哈姆雷特、羅密歐、迪波爾特、哈克·費恩或是彼得·潘內(nèi)心的窘境對于我們而言并不是一件困難的事。我仍記得握住劍柄的感覺，我覺得我就是那里的男主人公。但對于異性戀的男孩們而言，要想他們與朱麗葉、黛斯迪蒙娜、《彼得·潘》中的溫迪、《小婦人》中的喬、小美人魚或是寶嘉康蒂產(chǎn)生共鳴，是非常非常困難的。原因我不清楚，但事實就是如此。一直以來，如果是女性角色的話，人們一般都不會去尋求認同感。而今，按你們這代人的看法，這種狀況已有所改變。男人總是在不斷適應(yīng)，為了整個群體的利益，他們有意識地適應(yīng)，甚至他們會在自己都意識不到的情況下改變自己。他們最深層的偏見也會隨著社會的變化而不斷地改變。同樣的一件事，也許他們的父輩會覺得很難，祖輩甚至會厭惡。
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