怪物制造 The Making of Monsters

1985年，同性恋教师肯尼斯·泽勒斯^{自编x2268801}多伦多的高公园被五个^{自编x226880b}孩谋^{自编x2268808}。在^{自编x2268803}的实验音乐^{自编x2268800}《加拿大电影恐怖少年》中，约翰·格雷森对这个案例进行了全面的、积极的分析。格雷森运用布莱希特的诽谤策略和大量的挑衅，以一部虚构的记录^{自编x2268806}的形式重现了事件的过程和围绕事件的媒体炒作，记述了一部关于谋杀的电影的制作过程。反过来，他使用了许多不同的风格，包括新闻报道、舞台剧、档案片段和音乐视频序列的元素，颠覆了这一点。其结果是对同性恋恐惧症的一个激进的、多层次的研究，它以具有讽刺意味的尖刻风格突破了白^{自编x2268804}的非标准化。布莱希特本人以一条鱼的形象^{自编x2268809}现在^{自编x226880a}演的位置上，而那些戴着冰球棍和守门员面具的骑师们点燃了一支充满愤怒和自决魅力的奇异生命之火。

In 1985, gay teacher Kenneth Zellers was murdered by five teenage boys in High Park, Toronto. In his experimental musical, John Greyson, enfant terrible of Canadian cinema, undertakes a comprehensive, activist’s analysis of the case. Employing Brecht’s strategies of defamiliarisation and an exuberant dose of provocation, Greyson reconstructs both the course of events and the media hype surrounding them in the form of a fictitious documentary that chronicles the making of a film about the murder. This, in turn, is subverted by his use of a number of different styles – including elements of news reports, staged drama, archive footage and music video sequences. The result is a radical, multi-layered study of homophobia that cuts through the thicket of white heteronormativity with bitterly ironic flair. Bertolt Brecht himself appears as a director in the guise of a fish, while dancers in jockstraps with ice hockey sticks and goaltender masks ignite a firework of queer joie de vivre, full of anger and self-determined charisma.