梅根·纳什博士是艺术、传播与英语学院的文学和电影老师，他仔细观察了迪士尼的新电视剧《狡猾的躲避者》，该剧以澳大利亚为背景，阳光明媚，幽默野蛮，还有澳大利亚流行歌曲。 在1950年一篇关于查尔斯·狄更斯的文章中，文学评论家多萝西·范根特提出作者有一种不同寻常的方式来描写人的形体。 她用一种“外科手术分割”的描述手法来描述他“习惯于将身体的各个部分视为可分离和可操作的”。 虽然这些外科手术的划分往往是比喻性的，但狄更斯也有很多字面上的例子。 最引人注目的是，他的一个角色在伦敦破旧的解剖商场里寻找自己截肢的腿。 澳大利亚新系列《狡猾的躲避者》在对奥利弗·扭曲的改编中追求这种外科手术般的魅力。 它的不敬意图明显表现在用厚脸皮但可爱的躲避者代替了太好的奥利弗，奥利弗在第一集中被草率地斥为“湿生菜”。 《随意的野兽》是在小说结束15年后，躲避者杰克·道金斯（托马斯·布罗迪·桑格斯特饰）在一个虚构的澳大利亚小镇上，他把扒手的灵巧变成了手术的目的。 杰克欠了当地一个骗子（蒂姆·米钦饰）一大笔赌债，这个骗子威胁要摘下他一只珍贵的手来收赌债。 与此同时，杰克的老上司和坏父亲法金（大卫·特威利斯饰）乘坐一艘罪犯船来到镇上。 在一场因令人发指的复合骨折而发生的可爱邂逅中，美女狐狸（迈娅·米切尔饰）也加入了其中，她打算成为殖民地的第一位女外科医生。 这部电视剧的编剧们把作者经典中的杂七杂八拼凑在一起，就像狄更斯式的表演一样。 狡猾的躲避者发现自己身处一个虚构的澳大利亚小镇。 照片：迪士尼伍德考特先生，他们借用了《荒凉山庄》中躲避者的海军外科医生训练和它善良的爱情。 法金没有上吊，而是遇到了备受期待的被流放的罪犯马格维奇的命运。 在这部剧的一个更具创意的补充中，医院的假肢制造者（卢克·卡罗尔饰）唤起了董贝父子迷人的二人组所罗门·吉尔斯和卡特尔船长的回忆。 他复杂的机械臂和木腿让人想起了由鳃制造的科学仪器和船长用来代替手的假钩子。 这部电视剧在麻醉和抗生素之前展现了手术的壮观、速度和野蛮，将其公开手术呈现为介于哑剧和血腥运动之间的东西。 但是，尽管有那么多的内脏和暴力，它还是拒绝加倍强调狄更斯式的痛苦，在很大程度上扮演了它最可怕的元素来搞笑。 萧条的交易萧条长期以来一直是狄更斯改编作品交易中的股票。 但在狄更斯式的迷雾中，许多人忘记了作者书籍的乐趣。 狡猾的躲避者不是这样的。 从《布里奇顿》等流行剧最近的成功来看，这部新改编的电视剧声音洪亮，充满活力，令人耳目一新。 它充满了澳大利亚的阳光和声音，每一集都以《蜘蛛侠》和《残酷的大海》中的澳大利亚摇滚曲目开始。 虽然这些风格上的修改重新焕发了活力，但该剧的笑话和次要情节却更加偶然。 漫画一直是狄更斯小说的关键，但贝尔夫人不想要的追求者和她被驯化的妹妹的愚蠢行为并不能很好地为该系列服务。 尽管这部剧本身以一个小人物为中心，但它没有给一些最好的配角喘息的空间。 当躲避者和基金作伴时，这部剧正处于最佳状态。 照片：迪士尼系列面临的最重要的问题是它的中心浪漫。 躲避者和美女之间的关键性爱场景并没有像预期的那样破裂。 坦率地说，布罗迪·桑格斯特和特威斯之间在银幕上有更多的化学反应，所以当躲避者和费金在一起时，这部剧是最好的。 这对情侣巧妙地利用了这段关系中令人不安的感情和虐待的混合，法金渴望一段对杰克来说是童年创伤记忆的过去。 欢迎修正主义者鉴于狄更斯的大量改编电影，我们真的需要对旧的维多利亚时代进行另一次改编吗？在最近一篇关于杀害查尔斯·狄更斯的文章中，扎迪·史密斯讨论了她对作者复杂的感情。 史密斯以自我意识的夸张叙述了她是如何逃离伦敦以避免写新的历史小说的，尤其是为了避免一切狄更斯式的东西。 长话短说：她做不到。 回到家里处理诈骗案，她发现他是一个无法抑制的存在，萦绕在她的城市和她的故事中。 于是，她开始把这位著名作家的死写进她的书中，以此来杀死他。 正如史密斯恰当地总结的那样，狄更斯的无处不在（有时令人恼火）并不意味着他应该被赋予最后的话语权。 如果史密斯的策略是杀死狄更斯，我们可以说狡猾的躲避者的策略是对他进行钢锯手术。 该系列以一种受欢迎的修正主义将其切割、截肢、缝合在一起。 如果结果有点不均匀，那就足够了。 正如维多利亚时代的外科医生所知道的那样，有时你必须残忍才能让事物存活下来。 狡猾的躲避者正在迪士尼上直播+。 梅根·纳什博士在艺术、传播和英语学院教授文学和电影。 她的研究兴趣是十八世纪和十九世纪的小说，重点是它的历史和情感理论。 她受过艺术和科学两方面的训练，在这两者结合的情况下，她将跨学科训练用于研究实践。 这个故事第一次发表在谈话中。 迪士尼提供的所有照片。dr megan nash, a teacher in literature and film in the school of arts, communication and english, takes a close look at disneys new tv series the artful dodger, set in australia with bright sunshine and savage humour - and aussie pop songs.in a 1950 essay on charles dickens, literary critic dorothy van ghent suggested the author had an unusual way of writing about the human form.she identified his “habit of seeing the parts of the body as separable and manipulable” in a descriptive technique of “surgical division”.while these surgical divisions were often figurative, there were plenty of literal examples in dickens as well. the most notable sees one of his characters searching after his own amputated leg in the seedy anatomical emporiums of london.the new australian series the artful dodger pursues this surgical fascination in a reworking of oliver twist. its irreverent intentions are clearly marked by its substitution of the cheeky but lovable dodger for the too-good oliver, who’s summarily dismissed in the first episode as so much “wet lettuce”.casual brutalityit is 15 years after the end of the novel and the dodger – jack dawkins (thomas brodie-sangster) – is in a fictional australian town where he’s turned his pickpocket’s dexterity to the purpose of surgery.jack has fallen into an enormous gambling debt to a local crook (tim minchin), who is threatening to collect by taking off one of his precious hands.at the same time, jack’s old boss and bad father figure, fagin (david thewlis), arrives in town on a convict ship. thrown into the mix in a meet-cute that takes place over a heinous compound fracture is the lady belle fox (maia mitchell), who intends on becoming the colony’s first female surgeon.in the vein of a show like dickensian, the series’ writers stitch together miscellaneous bits and pieces from the author’s canon.the artful dodger has found himself in a fictional australian town. photo: disneythey borrow the dodger’s naval surgeon training from bleak house and its kindly love interest, mr woodcourt. rather than hanging, fagin meets the fate of the transported convict magwitch of great expectations. and in one of the show’s more creative additions, the hospital’s artificial limb maker (luke carroll) evokes dombey and son’s charming duo solomon gills and captain cuttle. his complex mechanical arms and wooden legs recall both the scientific instruments manufactured by gills and the prosthetic hook the captain uses in place of his hand.playing up the spectacle, speed and savagery of surgery before anaesthesia and antibiotics, the series presents its public operations as something between pantomime and blood sport. but despite all the viscera and violence, it refuses to double down on dickensian misery, largely playing its most gruesome elements for laughs.trading in bleaknessbleakness has long been the stock-in-trade of dickens adaptations. but in the midst of all their dickensian fog, many forget the fun of the author’s books.this isn’t true of the artful dodger. taking notes from the recent success of pop period dramas like bridgerton, the new adaptation is loud, energetic and refreshingly bright. it’s full of australian sun and sound, each episode starting off with an aussie rock track from the likes of spiderbait and the cruel sea.while these stylistic revisions reinvigorate, the show’s jokes and subplots are more hit and miss. caricature has always been key to dickens’s fiction, but the sheer silliness of lady belle’s unwanted suitor and her domesticated sister don’t serve the series well. despite being a show that itself centres a minor figure, it fails to give some of its best side characters room to breathe.the show is at its best when the dodger and fagin are keeping company. photo: disneythe most significant issue facing the series is its central romance. the key erotic scenes between the dodger and lady belle just don’t crackle as intended.there’s frankly much more on-screen chemistry between brodie-sangster and thewlis, so the show is at its best when the dodger and fagin are keeping company. the pair skilfully tap into the troubling mix of affection and abuse in this relationship, with fagin longing for a past that to jack is the stuff of traumatic childhood memory.welcome revisionismgiven the enormous quantity of screen adaptations of dickens, do we really need another reworking of the old victorian?in a recent essay, on killing charles dickens, zadie smith discusses her complicated feelings towards the author. with self-conscious hyperbole, smith recounts how she went so far as to flee london to avoid writing her new historical novel and, in particular, to avoid everything dickens.long story short: she couldn’t do it.returning home to work on the fraud, she found him an irrepressible presence haunting both her city and her story. and so, she set about killing off the famous author by writing his death into the pages of her book.as smith aptly concludes, dickens’ (sometimes irritating) ubiquity doesn’t mean he should be handed the last word.if smith’s strategy was to kill dickens, we might say the artful dodger’s is to perform hacksaw surgery on him. the series slices and amputates and stitches back together with a welcome revisionism.if the result is a little uneven, it works well enough. as victorian surgeons knew, sometimes you have to be brutal to keep things alive.the artful dodger is streaming on disney+.dr megan nash teaches in literature and film in the school of art, communications and english. her research interests are in the eighteenth- and nineteenth-century novel, with a focus on its histories and theories of emotion. trained in both arts and science, she employs her cross-disciplinary training in a research practice that operates at the juncture of the two. this story was first published in the conversation. all photos supplied by disney.亲，点击此处在线申请留学咨询服务和报名评估！我们将竭诚提供最佳评估服务！
