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巴西土著黑人传承文化

时间:2020-10-15 11:54 来源: Essay代写

摘要：巴西土著黑人传承文化 Brazils indigenous black people carry on their culture This paper describes the inheritance culture of indigenous black people in Brazil from the aspect of plot. Revelry is not only the setting of the film, but it is im......

巴西土著黑人传承文化 Brazil's indigenous black people carry on their culture

This paper describes the inheritance culture of indigenous black people in Brazil from the aspect of plot. "Revelry is not only the setting of the film, but it is important in almost every scene as other non-Brazilian cultures are integrated. Here you are. Antonio Carlos Bin and Louis Bonfai, with their excellent voices, resonate with the carnival of slum roaming and almost become the spirit of shantytown."

本文从剧情方面描述了巴西土著黑人的传承文化。“狂欢不仅仅是电影的背景，但随着其他非巴西裔人文化的融入，它几乎在每一个场景都很重要。在这里。安东尼奥卡洛斯宾和路易斯邦法以优秀的声音，与贫民窟漫游狂欢，达成共鸣，几乎成为棚户区的精神人物。”

Black Orpheus Black Orpheus, to my surprise, is actually a re-imagining of the Greek myth of Orpheus, son of Apollo and Calliope. The original is a heartbreaking fatalistic tale of two lovers, who shortly after their marriage, were doomed to never be together?at least in this world, Black Orpheus is scarcely any different. Now as far fetched as redoing a Greek myth with the backdrop of Carnival in Rio de Janeiro, Brazil may sound, it is actually quite plausible. When you think of the powerful presence of the Orisha tradition intertwined in Brazilian culture, few places would be as suitable as this retelling, and fewer still would be able to conjure a backdrop as beautiful so that gods indeed may run about. Colors seemed to leap from the screen and the music was at least as effective.

Costumes and color helped set the tone of many scenes, especially when Eurydice is first introduced. She disembarked from the ferry wearing all white, a telltale sign of her ?innocence? so to speak. This is further emphasized by her being seemingly overwhelmed at the atmosphere that she has just into. This is indicated by the appearance of her giving the vibe of being threatened by all of the revelers, musicians and crowds until she is encircled for a time. Things do seem to calm down when she meets Orfeu (tram driver and dancer for the Babilonia School) and his boss, Hermes. Orfeu?s attraction for Eurydice is apparent, and expected after literally every man in Rio looked at least twice, but is surprising given that he and his fiancee, Mira (The Queen of the Day), are in the process of obtaining their marriage license and engagement ring.

令我惊讶的是，黑色的俄耳甫斯实际上是希腊神话中阿波罗和卡利俄珀之子俄耳甫斯的翻版。原著是一个关于一对情侣的令人心碎的宿命论故事，他们在结婚后不久就注定永远不会在一起。至少在这个世界上，黑俄耳甫斯几乎没有什么不同。现在，用巴西里约热内卢的狂欢节来重写一个希腊神话听起来可能有点牵强，但实际上是很有道理的。当你想到与巴西文化交织在一起的奥里沙传统的强大存在时，很少有地方能像这段复述一样适合，更没有什么地方能像奥里沙这样美丽，让神真的可以四处奔跑。色彩似乎从屏幕上跳跃出来，音乐至少同样有效。

服装和色彩帮助设定了许多场景的基调，尤其是当欧律狄刻第一次出现的时候。她下了船，身上全是白色，这表明她是清白的?可以这么说。她似乎被刚刚进入的氛围所压倒，这进一步强调了这一点。这是通过她的外表，给所有的狂欢者，音乐家和人群的威胁，直到她被包围了一段时间。当她遇到Orfeu(巴比洛尼亚学校的电车司机和舞蹈演员)和他的老板Hermes时，事情似乎平静了下来。Orfeu吗?s对欧律迪克的吸引力是明显的，并期待之后，几乎每个男人在里约热内卢看了至少两次，但令人惊讶的是，他和他的未婚妻，米拉(当天的女王)，正在获得他们的结婚证和订婚戒指的过程中。

This is where single-handedly I am shown the importance of Carnival to the people; Mira will buy her own engagement ring because Orfeu is more concerned with the preparations of his Samba dance. Orfeu is also depicted as a seducer of women, and is reinforced by him bumping into one of his ex-girlfriends that very day. Orfeu and Hermes do, however, manage to help Eurydice with her destination, she is seeking refuge with her cousin Serafina (Queen of the Night) for protection from a mysterious threat. As fate would have it, Orfeu lived near Serafina and this provided the opportunity for an impromptu tryst to occur. Things proceed as expected with any star-crossed lovers, arrangements are made for them to dance with one another and so on and so forth. The most striking part of the film, to me, was after giving glimpses of Eurydice?s pursuer, dressed as Death, Orfeu does face off with him, switchblade in tow. ?Take care of her... I'm in no hurry... we'll meet soon," the words were as prophetic as they are powerful and amongst the Life, Death, and Afterworld imagery that ran rampant through the Carnival sequences, including the dance scenes between Orfeu and the disguised Eurydice, where shortly afterwards, another death?s head costumed character blew a kiss at Eurdice.

这是我独自一人展示嘉年华对人民的重要性的地方;Mira会给自己买订婚戒指，因为Orfeu更关心桑巴舞的准备工作。Orfeu也被描绘成一个诱惑女人的人，并且在那天偶遇他的一个前女友强化了这一点。然而，欧菲和海尔墨斯设法帮助欧律狄切到达她的目的地，她在她的堂兄塞拉菲娜(夜女王)的庇护下躲避神秘的威胁。命中注定，Orfeu住在塞拉菲娜附近，这就提供了一个即兴幽会的机会。对于任何不幸的情侣来说，事情都如预期的那样进行，安排好让他们彼此跳舞等等。对我来说，这部电影最引人注目的部分是在瞥见欧律狄刻之后。奥菲乌的追赶者，装扮成死亡，与他对峙，弹簧刀在后面。照顾她…我不赶时间……我们很快就会见面"这句话很有预言性，也很有力量在生，死，和之后世界的意象中在狂欢节中蔓延，包括Orfeu和伪装的Eurydice之间的舞蹈场景，没过多久，另一个死亡?s的头部装扮的角色吹了一个吻Eurdice。

After Death finally claims Eurydice through Orfeu?s tragic mistake, Orfeu refuses to let her go, and like the Greek tragic musician, delves into the Afterworld to retrieve her. But also like the heartbroken god, Eurydice gives in to temptation and looks for her when he told not to, and sees that she is not with him after all, but is being spoken through an elderly woman. Orfeu met his end in much the same way as the original myth. You see, Orpheus was able to play his music beautifully and loud enough to even drown out the sirens (who mystified men with their songs). But after losing Eurydice, Orpheus never took interest in any woman again, and scorned Thracian maidens destroyed him by javelins and dismemberment. The muses buried him and a nightingale sung over his grave for all time.

After Orfeu plummeted to his death with the body of his beloved, his two proteges find Orfeu?s guitar, still believing that it has the power to make the sun rise with it?s music, and the cycle begins anew. Carnival is not just the backdrop of the film, but along with other Afro-Brazilian culture, it is important to nearly every scene. There is an almost constant sound of pandeiros, agogos, rebolos, you name it, it?s in here. The score by Antonio Carlos Jobim and Luis Bonfa is excellent as the sounds, whether from Orfeu?s guitar or from roaming revelers, resonates through the favelas, almost becoming the spirit of the shantytowns. The importance of carnival is also readily apparent in everyone?s last minute touch ups to their costumes, or rushing to rehearse. When it all culminates on carnival day, I even spot a few mulattas. Another aspect of Afro-Brazilian culture that we?re given a glimpse at is when Orfeu finally confronts Death. Being a martial arts fan, I was elated, even though the sequence is much too short.

在死亡后，欧律狄刻最终通过奥弗?Orfeu的悲剧错误，Orfeu拒绝让她走，像希腊悲剧音乐家一样，深入来世去找回她。但也像心碎的上帝一样，欧律狄刻屈服于诱惑，在他告诉她不要去找她的时候去找她，而且看到她根本不在他身边，而是通过一个老妇人说话。Orfeu的结局与最初的神话大致相同。你看，俄耳甫斯能够把他的音乐演奏得如此美妙嘹亮，甚至盖过了塞壬的歌声(塞壬的歌声令人类迷惑不解)。但在失去欧律狄刻之后，俄耳甫斯再也没有对任何女人感兴趣，他蔑视色雷斯少女，用标枪和肢解他。缪斯们把他埋了，一只夜莺永远在他的墓上歌唱。

在奥弗带着他心爱的人的尸体坠落身亡后，他的两个门徒找到了奥弗?吉他，还相信它有力量让太阳升起吗?音乐响起，循环又开始了。狂欢节不仅仅是电影的背景，它和其他非裔巴西文化一样，对几乎每一个场景都很重要。pandeiros, agogos, rebolos的声音几乎是不变的，你能说出来吗?在这里。安东尼奥·卡洛斯·若宾和路易斯·邦法的配乐非常棒，无论是来自奥尔弗?在贫民窟里回荡，几乎成了棚户区的灵魂。嘉年华的重要性在每个人身上也显而易见。他们会在最后时刻润色服装，或者赶着去排练。当这一切在狂欢节达到高潮时，我甚至还看到了一些mulattas。非洲-巴西文化的另一方面?当奥菲最终面对死亡的时候，我们瞥了一眼。作为一个武术迷，我很高兴，尽管镜头太短了。

Orfeu pounced at Death, and almost seamlessly, Death went into a defensive Capoeira; an Au which is a somersault used to defend for quick retreats and then counterattacking with one, or multiple low kicks. A shocking part of Afro-Brazilian, was when Orfeu is taken by the janitor to a terreiro. From what I could tell they were Oxala/Oshala practicers due to the amount of white present. What also leads me to believe this is that he is the founder of male and female power and also represents great faith in friendship and love. This is fitting to the story, indeed. While there, one lady went into trance, it was refreshing to see this aspect of culture in the film after covering it during the course.

奥尔弗扑向死神，死神几乎天衣无缝地变成了一个防御性的卡波卫拉;翻筋斗一种翻筋斗，用来防守快速后退，然后用一个或多个低踢反击《非裔巴西人》中令人震惊的一幕是，Orfeu被看门人带到一个terreiro餐厅。根据白色的呈现量，我可以判断他们是Oxala/Oshala练习者。让我相信这一点的是，他是男性和女性权力的缔造者，也代表着对友谊和爱情的坚定信念。的确，这很符合这个故事。在那里，一位女士进入了恍惚状态，这是令人耳目一新看到这方面的文化在电影中在过程中报道。

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