我不是你的黑鬼（2016）

克里斯托弗·麦克雷
直面这个世界 仿佛你有权立足于此之时
and look the world in the face like you had a right to be here,
卡梅伦·蒂尔曼
你冲击的就是西方世界的
you have attacked the entire power structure
阿米尔·布鲁克斯
我们生活在一个警♥察♥国家
整个权力体系
of the western world.
忘掉所谓的黑人问题吧
Forget “The Negro Problem”.
也别写什么投票法案了
Don’t write any voting acts.
我们已经有了 就是第十五修正案
We had that. It’s called The Fifteenth Amendment.
自196♥4♥年颁布民权法案以来
During the Civil Rights Bill of 196♥4♥,
你不得不看到这片国土上正在发生什么事
what you have to look at is what is happening in this country,
真正发生的是兄弟残杀
and what is really happening is that brother
而不顾兄弟情分
has murdered brother, knowing it was his brother.
白人男性以私刑绞死了自己的黑人私生子
White men have lynched Negroes, knowing them to be their sons.
白人女性烧死了
White women have had Negroes burned,
自己的黑人恋人
knowing them to be their lovers.
这不是一个种族问题
It is not a racial problem.
而在于你是否愿意直面自己的人生
It’s a problem of whether or not you’re willing
并为此负责
to look at your life and be responsible for it,
为此做出改变
and then begin to change it.
我小时候住在西部的一栋大房♥子里
That great western house I come from is one house,
我是那里的众多孩子之一
and I am one of the children of that house.
显然我也是最受鄙视的那一个
Simply, I am the most despised child of that house.
这是因为美国人无法面对这样一个事实
And it is because the American people are unable
我也是跟他们一样的血肉之躯
to face the fact that I am flesh of their flesh,
我也是美国人的后代
bone of their bone, created by them.
我和我父亲的鲜血 都流淌在这片土地上
My blood, my father’s blood, is in that soil.
《春风秋雨》 J·M·斯塔尔执导 1934年
下午好 小姐
Good afternoon, Ma’am.
雨下得太大了
It’s raining so hard,
我带了雨靴和大衣来接我女儿回家
I brought rubbers and coat to fetch my little girl home.
我想你是搞错了
I’m afraid you’ve made some mistake.
这里不是三B班吗
Ain’t this the 3B?
-是的 -那就是了
– Yes. – Well, this is it.
这不可能
It can’t be it.
我的班上没有黑人小孩
I have no little colored children in my class.
好吧 谢谢你
Oh, thank you.
那就是我的女儿
There’s my little girl.
佩奥拉 你可以回家了
Peola, you may you home.
天哪 我都不知道她是黑人
Gee, I didn’t know she was colored.
我也不知道
Neither did I.
我恨你 我恨你 我恨你
I hate you, I hate you, I hate you!
佩奥拉 佩奥拉
Peola! Peola!
我深知我的祖先
I know very well that my ancestors
并不愿意踏上这片土地
had no desire to come to this place.
但成为白人的那些人 他们的祖先也一样
But neither did the ancestors of the people who became white,
新奥尔良的黑奴及白奴
而他们却要我为我们遭遇的圈养高歌♥
and who require of my captivity a song.
瑞贝卡
艾萨克和萝莎
他们要求我歌♥唱
They require a song of me,
不是为了歌♥颂我的遭遇
less to celebrate my captivity
而是为了合理化他们的遭遇
than to justify their own.
查理
纯度
一直以来 我都深感震惊
I have always been struck, in America,
在美国存在着深不见底的情感冷漠
by an emotional poverty so bottomless,
人们恐惧人的生命 恐惧人际接触
and a terror of human life, of human touch,
恐惧到几乎没有美国人能够
so deep that virtually no American appears able to achieve
在他们的公共立场和私人生活之间
any viable, organic connection
建立起生动有机的联♥系♥
between his public stance and his private life.
这种私生活的失败一直在对美国人
This failure of the private life has always had the most
公开的表现造成最具毁灭性的影响
devastating effect on American public conduct,
对黑人白人的关系也是如此
and on black-white relations.
美国人如果没有如此恐惧他们私人的自我
If Americans were not so terrified of their private selves,
就不会变得如此依赖
they would never have become so dependent
他们所谓的”黑人问题”
on what they call “The Negro Problem”.
《无路可逃》
约瑟夫·曼凯维奇执导 1950年
他们说”黑鬼”的说法不好
They said it wasn’t nice to say “Nigger”.
黑鬼
Nigger!
黑鬼 黑鬼
Nigger! Nigger!
可怜的黑鬼小孩 爱黑鬼小孩
Poor little nigger kids, love the little nigger kids.
谁爱过我
Who loved me?
谁爱过我
Who loved me?
他们为了保卫自己的纯度
This problem, which they invented
而创造出的这个问题
in order to safeguard their purity,
使他们变成了罪犯和野兽
has made of them criminals and monsters,
毁灭着他们
and it is destroying them.
这并非由于黑人可能做或不做任何事情
And this, not from anything Blacks may or may not be doing,
而是因为那个充满罪恶
but because of the role
充满狭隘的白人想象的角色
of a guilty and constricted white imagination
被分配到了黑人头上
has assigned to the Blacks.
听着 别用这种眼神看我
Look man, don’t give me that look.
《挣脱锁链》
斯坦利·克雷默执导 1958年
你朝那个人脸上吐唾沫之后
You should have got what was coming to you
活该有这样的遭遇
after spitting in that guy’s face.
你怎么…
Why you…
这个故事的设定令人无法接受
It is impossible to accept the premise of the story,
它基于美国人对黑人与白人之间的
a premise based on the profound American misunderstanding
仇恨本质的根深蒂固的误解
of the nature of the hatred between black and white.
就是现在了
That time is now.
这个黑人仇恨的根源是愤怒
The root of the black man’s hatred is rage,
与其说他憎恨白人
and he does not so much hate white men
不如说他想摆脱白人
as simply wants them out of his way,
以及
and more than that,
想让他的孩子摆脱白人
out of his children’s way.
这个白人仇恨的根源是恐惧
The root of the white man’s hatred is terror.
我要杀了你
I’m gonna kill you.
一种无底的 无名的恐惧
A bottomless and nameless terror,
它聚焦于这个可怕的人物
which focuses on this dread figure,
一个仅存在于他想象中的实体
an entity which lives only in his mind.
快跑
Run!
快点
Come on!
我够不到 我够不到
I can’t make it, I can’t make it!
当西德尼从火车上跳下来时
When Sidney jumps off the train,
城里的自♥由♥派白人都非常释怀和开心
the white liberal people downtown were much relieved and joyful.
但当黑人看到他跳下火车时
But when black people saw him jump off the train,
他们喊道 “回到火车上去 你个笨蛋”
they yelled, “Get back on the train, you fool!”
这个黑人跳下火车
The black man jumps off the train
是为了使白人放心
in order to reassure white people,
让他们知道 他们并不被仇恨
to make them know that they are not hated,
尽管他们犯了凡人的错误
that though they have made human errors,
他们所做的事情却不值得被仇恨
they done nothing for which to be hated.
我是金吉达香蕉 我要说
I’m Chiquita Banana, and I’m here to say
我是最棒的香蕉
I am the top banana…
尽管这个国家流行着那些关于
In spite of the fabulous myths proliferating in this country
黑人的性能力的惊人传说
concerning the sexuality of black people,
黑人男性在流行文化中仍然被描绘成
black men are still used, in the popular culture,
似乎没有性器官的形象
as though they had no sexual equipment at all.
西德尼·波蒂埃是位黑人艺术家 一个男人
Sidney Poitier, as a black artist, and a man,
他也面临着这个国家
is also up against the infantile,
幼稚而隐秘的性描绘
furtive sexuality of this country.
例如 他和哈里·贝拉方特
Both he and Harry Belafonte, for example,
都是性感偶像 虽然没人敢承认这一点
are sex symbols, though no one dares admit that,
更别说像其他好莱坞硬汉那样被选用了
still less to use them as any of the Hollywood he-men are used.
《猜猜谁来吃晚餐》
斯坦利·克雷默执导 1967年
这个国家的黑人被抢走了一切
Black people have been robbed of everything in this country…
我得跟你说件事 小伙子
I’ve got something to say to you, boy.
他们不想让他们的艺术家再被抢走
and they don’t want to be robbed of their artist.
黑人尤其讨厌《猜猜谁来吃晚餐》
Black people particularly disliked guess Who’s Coming to Dinner,
因为他们感到西德尼实际上
because they felt that Sidney was, in effect,
被利用来对付他们
being used against them.
《猜猜谁来吃晚餐》可能
Guess Who’s Coming to Dinner may prove,
以某种奇怪的方式成为了一个里程碑
in some bizarre way, to be a milestone,