纪录片自媒体解说素材-新闻动态参考-Netflix的“布兰妮vs spears”在歌手的丑闻中无味的gawks：电视评论/Netflix’s ‘Britney vs Spears’ Tastelessly Gawks at Singer’s Scandals: TV Review
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0504/4418w2gd5o5atun.jpgNetflix的“布兰妮vs spears”在歌手的丑闻中无味的gawks：电视评论
Netflix’s ‘Britney vs Spears’ Tastelessly Gawks at Singer’s Scandals: TV Review
对于Netflix的新纪录片“ Britney vs Spears”来说，这是很多话：这肯定不是为了让她的粉丝取悦粉丝而制作。这部纪录片由Erin Lee Carr执导，旨在作为对流行歌星目前的斗争而探索的纪录片。逃脱由她父亲经营的保护，控制着她的生活。不过，在那里的路上，Spears的故事没有太不舒服或个人来描绘。 Doc旋转其轮子将Spears从Kevin Federline脱离离婚，并作为小报感兴趣的对象，并在2007年的一个不稳定的时刻上散发出令人讨厌的狗长矛录像。 Lutfi和Paparazzo ex Adnan Ghalib获得了优先权，Spears的短信，Ghalib提供给制作的屏幕上的屏幕。有一次，我们听到一条深夜的语音邮件消息Spears于2009年离开律师，恳求帮助确保她不会失去与孩子的接触n.这个无形的医生感觉到只有90分钟以上，因为目前尚不清楚Carr和合作者Jenny Eliscu想对Spears说什么。与电影的标题相反，这部电影的重点有时似乎是卡尔和埃利斯库。这对夫妇分别是一位出色的纪录片和一名介绍长矛的记者 - 都出现在摄像机上，他们的调查Spears故事的作品戏剧化，镜头单击了秘密文件或通过文书工作进行调整。尤其是Eliscu显然在情感上被Spears Case所吸引，但是，更常见的是，Carr和Eliscu之间的互动非常专注于发现的刺激，以至于忽略了他们试图通过工作来帮助的人。在故事中的角色中，两位记者最终强调了他们获得的新信息很少。尽管他们几年前开始从事这个项目，但他们被殴打了，这可能是不公平的纽约时报制作的“布兰妮·斯皮尔斯框架”，但这就是现实。上周末，《泰晤士报》的纪录片和残酷有效的后续行动减少了公众的意识，因此，卡尔的工作只会放大或添加有关已知知识的详细信息。更重要的是，“布兰妮·斯皮尔斯（Britney Spears）”是对长矛的美味佳肴的精致敏感性，并对她的文化误解了她的文化滥用方式，即使在她的音乐学院开始之前也被文化滥用。当Eliscu对Spears的情况表示厌恶时，“ Britney VS Spears”中的一个模范时刻是：“她得到了津贴，她有特权，而父亲负责。”卡尔的答复？ “那是父权制。”这当然不是不正确的！但这也是第一个也是最明显的想法，人们会想到一个生活在父亲的拇指下的女超级巨星。纪录片愿意安顿下来的Spears Story意味着它不考虑更艰难的东西 - 例如，对长矛和我们所有人的含义，讨论她目前缺乏自由意味着在这个项目的情况下，我们还必须回顾过去的丑闻， 。 （Spears自己说，她的生活的纪录片使她感到不舒服，这并不是记者的唯一考虑。鉴于这些项目提出了一种试图在Spears的兴趣方面进行工作的基调，但这仍然是一个考虑因素。）从今年早些时候，这部电影扮演Spears的电证词中，显然没有显然具有讽刺意味的是，她恳求：“我只希望我的生活回来。”如果这部纪录片是在超速加速过程中发挥任何作用，那么它也坚持要首先咬住Netflix，Carr和Eliscu的途径。 。她的故事令人着迷 - 可取的是，它暗示了对我们的文化以及关于一个特别有魅力，有天赋和无休止虐待的女人的细节。估计布兰妮·斯皮尔斯（Britney Spears）所做的事情意味着也许是理解这两个线程不会被弄清楚，但是到目前为止，这个故事已经有效地讲述了。看着文化行业试图提出新的方法来包装和从长矛的屈辱和痛苦中获利，这清楚地引起了她的2007年和2008年的想法，其中她被代谢的内容比她清楚地听到的内容要多。 （那么，许多旁观者和评论员也很善意。）Netflix对我们对Spears叙事的理解几乎没有增加，但是对于观众的新意识而言，即使毕竟，现在已经知道了这一切她的困境，即使是最大的媒体玩家也无法抗拒试图从她痛苦的不人道传奇中挤出一些果汁。 Netflix是否认为我们会LD免费Britney？当然。但是只有我们可以先使用布兰妮。
Say this much for Netflix’s new documentary “Britney vs Spears”: It certainly wasn’t made with the objective of pleasing her fans in mind.
The documentary, directed by Erin Lee Carr, is intended as an exploration of the pop star’s current struggle to escape the conservatorship, run by her father, that controls her life. On the way there, though, there’s no side of Spears’ story too uncomfortable or personal to depict. The doc spins its wheels rehashing Spears’ divorce from Kevin Federline and her time as an object of tabloid interest, complete with unflattering paparazzi video footage of Spears at a destabilized moment in 2007. The voices of figures from Spears’ past, including former manager Sam Lutfi and paparazzo ex Adnan Ghalib, are given precedence, and text messages from Spears, provided to the production by Ghalib, play onscreen. At one point, we hear a late-night voicemail message Spears left a lawyer in 2009, pleading for help in ensuring she won’t lose access to her children.
This shapeless doc feels overlong at just over 90 minutes, because it’s unclear what, exactly, Carr and collaborator Jenny Eliscu want to say about Spears. Contrary to the film’s title, the film’s focus at times seems to be Carr and Eliscu. The pair — respectively, an accomplished documentarian and a journalist who has profiled Spears — both appear on camera, and their work of investigating Spears’ story is dramatized with shots of clicking into secret files or shuffling through paperwork. Eliscu in particular is clearly very emotionally engaged by the Spears case, but, more often, the interactions between Carr and Eliscu are so focused on the thrill of discovery as to lose sight of the human they're trying to help through their work.
But in making themselves characters in the story, the two reporters end up emphasizing how little new information they got. It may not be fair that, though they began work on this project years ago, they were beaten to the punch by the New York Times-produced “Framing Britney Spears,” but that is the reality; the Times’ documentary, and a brutally effective follow-up dropped this past weekend, helped bring the story into the public consciousness, and Carr’s work as a result only amplifies or adds detail on what has been known. What’s more, “Framing Britney Spears” was made with an exquisite sensitivity to the delicacy of Spears’ plight and with real insight about the ways in which she’d been misused by the culture even before her conservatorship began. An exemplary moment in “Britney vs Spears” comes when Eliscu expresses disgust at Spears’ situation: “She gets an allowance, she’s got privileges, and her daddy is in charge.” Carr’s reply? “That’s the patriarchy.”
This is certainly not untrue! But it’s also the first and most immediately apparent thought one would have about a female superstar living under the thumb of her father. And the documentary’s willingness to settle for easy takeaways about the Spears story means that it underthinks the harder stuff — like what it means, for Spears and for us all, that to discuss her current lack of freedom means, in this project's case, that we must also look back in gawking horror at scandals from her past. (Spears herself has said that documentary coverage of her life makes her uncomfortable, which is not a journalist's only consideration. Given that these projects put forward a tone of trying to work in Spears' interest, though, that should be a consideration nonetheless.) There seems little apparent irony in this film's playing Spears' electric testimony from earlier this year, in which she pleaded, "I just want my life back." If this documentary is to play any role in speeding that process, it's also insisting that the path to getting her life back goes through Netflix, Carr and Eliscu getting a bite of it first.
The temptation to dig deeply into Spears’ fall is understandable enough. Her story is doubly intriguing — both for the possibility that it suggests Big Insights into our culture as well as for the details about one very particularly charismatic, gifted and endlessly mistreated woman. Reckoning with what’s been done to Britney Spears means, perhaps, understanding that the two threads can’t be untangled.
But the story, as it exists up to this point, had already been effectively told. And watching the culture industry attempt to come up with new ways to package and profit off of Spears’ humiliation and pain very clearly calls to mind her 2007 and 2008, in which she was metabolized for content more than she was ever clearly heard. (Many bystanders and commentators, then, were well-meaning, too.) Netflix has added little to our understanding of Spears’ narrative — but for the renewed awareness, on the part of the viewer, that even after all that is now known about her plight, even the biggest media players can’t resist trying to squeeze some juice out of her painful, inhumane saga. Does Netflix think we should Free Britney? Sure. But only if we can Use Britney first.
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感谢大佬分享。我又来学习了~ 感谢分享，下载收藏了。最喜欢高清纪录片了。 谢谢楼主分享，发现宝藏了。
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