A few years ago, I had the honor of traveling through Accra, Ghana. As I rode down a main avenue, images grabbed my attention. On one side of the street, African children wearing rags played in an open sewer. On the other side of the street, there was a towering billboard advertisement featuring palm trees, a beach, and a Caucasian man lowering sunglasses from his eyes. The ad was for actor David Caruso, starring in the television series CSI: Miami.
几年前,我有幸到加纳阿克拉观光。我走在一条主路上,一个场景吸引了我的留意。在街道一侧,衣衫褴褛的非洲孩子们在一个开放的下水道里玩。在街道另外一侧,高高的告白牌上有棕榈树、海滩,还有一个白人摘下戴着的太阳镜。这则告白上是演员大卫·卡鲁索,他主演了电视剧《犯法现场查询拜访:迈阿密》。

The dichotomy of images was a reminder not only of the international reach of American pop culture, but of the specific influence of TV police procedurals.
这类背和的场景体现了美国风行捕鱼电玩上下分文明的国际影响力,和电视警匪片的独特影响。

In Hollywood, I’m a rare creature. A black man who has made a career, in part, writing for network police shows, having eventually created my own show, S.W.A.T., for CBS. For me, writing television can never simply be about entertainment. Many people in Hollywood have a fear of being didactic, preaching messages that risk making an audience feel uncomfortable. But, in the shadow of George Floyd’s death at the hands of Minneapolis Police Officers, a question persists—how are the shows we are writing contributing to perceptions of the justice system, class, race, and the image of black men? I look at this, not as a creative burden, but a necessary responsibility.
在好莱坞,像我如许的人不多。我这个黑人有了自己的事业,部分捕鱼电玩上下分时间为网络警匪片写脚本,后来还为哥伦比亚影业公司创作了片子《反恐特警组》。写电视脚本对我来讲决不只仅是为了娱乐。好莱坞很多人都害怕说教,担心说教内容会惹起不雅众不适。然则乔治·弗洛伊德逝世在一名明尼阿波利斯警察手中给社会形成了暗影,因此一个成绩出现了:我们创作的影视作品能如何影响人们对司法体系可以上下分的电玩软件、阶层、种族和黑人笼统捕鱼电玩上下分的看法?我认为这是必须可以上下分的电玩软件承当的义务,而不是一个有创意的包袱。

Traditionally, the domain of TV police procedurals has been as morality plays, where clear lines are drawn. The past 60 years have seen shows like Dragnet, The Untouchables, and Adam 12 establish a formula where, within an hour of story, good lawmen, also known as square-jawed white cops, defeat bad guys, often known as poor people of color. This stark clarity, indulging the idea of the hero cop, often provides a sense of satisfaction for some viewers in an otherwise complicated world. This can make for wildly popular entertainment, but also risks encouraging fantasies to be perceived as reality rather than idealized comfort food. People watch TV to see heroes, but how are we defining who a hero is? For people of color, especially black people, the viewing experience is complex.
传统上,电视警匪片一向是品德剧,情节清楚明了。在之前的60年中,《Dragnet》、《铁面无情》、《Adam 12》等作品的套路是,收场不到一个小时,就会有法律的大好人打废弛可以上下分的电玩软件人,大好人普通是方下巴的白人警察,坏人则是贫困的有色人种。这类光秃秃的暗示塑造的是豪杰警察的笼统捕鱼电玩上下分,平日会给复杂实际世界中有些不雅众带来满足感。这能满足大众的娱乐方法,但也有风险,会让人们把幻想当作实际,而不是把它当作精力安慰。人们看电视是为了看豪杰,但我们怎么给豪杰下定义呢?关于有色人种,特别是黑人,这类不雅影感触感染很复杂。

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翻译:菲菲