英文摘要 |
Pratibha Parmar gravitates to filming Alice Walker not merely because they share a common background of diaspora. In fact, they are both interested in a strategy of self-reflexivity. The controversies about Walker’s representations of the violence of black people in The Color Purple, including its film adaptation by Steven Spielberg, have never been seized among black communities since 1982. As a writer, Walker reveals an unbearable truth to the quintessential African Americans. Large amounts of black audiences claimed that Walker’s representations of black people’s atrocities by black communities were not true and believed that they have given the blacks an ignominy. It is difficult to understand why the black people so fervent and avid in equal rights should have been so selfcontradictory in the crucial matter of gender. Making Alice Walker: Beauty in Truth, Parmar renders it self-reflexive. Likewise, Walker deploys the representations of black violence in The Color Purple at her discretion. According to Parmar, to examine black feminism requires the rudiments of critical self-evaluation. Without critical self-evaluation, on the one hand, racism becomes a cursory glance for the black people. The black people merely target at white people as well as aspects of complexion when they choose to acquiesce and hide the atrocities by black communities; On the other hand, those who could not or would not be able to be categorized into any kind of identity continues to be marginalized. |