好萊塢的象徵性黑人角色的問題

為了表現出多樣化和文化意識，電視和電影導演偶爾會拋出一個沒有實質性特徵，人際關係或敘事的單個黑人角色。

Hollywood often attempts to appear diverse and inclusive by adding a single Black character to their films or TV shows. However, these characters are often poorly developed and serve only to support the white lead. This practice, known as tokenization, is harmful and fails to provide meaningful representation.

好萊塢經常試圖通過在電影或電視節目中添加一個黑色角色來表現出多樣化和包容性。但是，這些角色通常是不良發展的，並且僅用於支持白色鉛。這種稱為令牌化的做法是有害的，無法提供有意義的代表。

Black children, in particular, are left with these half-hearted attempts at inclusion as their primary cultural representation. These characters lack depth, relationships, and personal narratives, embodying the harmful stereotype of the Black sidekick.

尤其是黑人兒童，將這些三心二意的嘗試作為其主要文化代表。這些角色缺乏深度，人際關係和個人敘事，體現了黑人搭檔的有害刻板印象。

For instance, Gabrielle Union's roles in Ten Things I Hate About You and She's All That are classic examples of tokenization. Her characters, Chastity and Katie, respectively, serve as best friends to the white leads, yet the audience knows nothing about their interests, hobbies, or families.

例如，加布里埃爾聯盟（Gabrielle Union）在我討厭你的十件事中的角色，她就是所有人的典型例子。她的角色，貞操和凱蒂（Katie）分別是白人領導者的最佳朋友，但觀眾對他們的興趣，愛好或家庭一無所知。

Another example is Hallie, Sydney Prescott's supposed best friend in Scream 2, who joins the entirely white cast despite being notably absent in the first film. Her addition, for no apparent narrative reason, is another instance of tokenization.

另一個例子是悉尼·普雷斯科特（Sydney Prescott）在《尖叫2》中的最好的朋友哈利（Hallie），儘管在第一部電影中特別缺乏，但他加入了完全白色的演員。她的補充沒有明顯的敘述原因，是令牌化的另一個實例。

Even Gen Z favorites, like High School Musical, are not immune to this lazy attempt at diversity. Chad and Taylor, the Black best friends of Gabriella and Troy, respectively, add minimal value to the plot and serve primarily to assist their white friends.

即使是高中音樂劇，甚至Z世代的收藏夾也無法免疫這種懶惰的多樣性嘗試。乍得和泰勒（Chad and Taylor）分別是加布里埃拉（Gabriella）和特洛伊（Troy）的黑人最好的朋友，為情節增添了最小的價值，並主要為他們的白人朋友提供服務。

Perhaps the most glaring example is Louise, Carrie's Black personal assistant in the film edition of Sex and the City. Despite the show's six seasons featuring almost no people of color, Carrie suddenly hires a Black assistant for the movie. Played by Jennifer Hudson, Louise offers sage wisdom at critical junctures in Carrie's life, but her own personal details are revealed in only small doses.

也許最明顯的例子是凱莉（Carrie）電影版《性與城市》（City and City）的黑人私人助理。儘管該節目的六個季節幾乎沒有有色人種，但嘉莉突然聘請了這部電影的黑人助手。路易絲（Louise）由詹妮弗·哈德森（Jennifer Hudson）飾演，在嘉莉（Carrie）一生的關鍵時刻提供了賢哲的智慧，但她自己的個人細節僅以小劑量揭示。

In predominantly white spaces, like a Vancouver suburb or a university, Black individuals often experience the pressure of being the sole member of their race in the room. Tokenizing Black characters on screen, with only white people to accompany them, reinforces the harmful idea that these singular characters, based solely on stereotypes, represent an entire diverse and complex race of people.

在主要是白色的空間，例如溫哥華郊區或大學，黑人的人經常承受著成為房間裡種族唯一成員的壓力。屏幕上的黑人角色將黑人人物陪伴，並加強了這樣一個有害的想法，即這些奇異的角色僅基於刻板印象，代表了整個多樣而復雜的人群。

Moreover, token Black characters often embody a racial stereotype, which is then imposed on the entire community, causing more harm than good.

此外，令牌黑人角色經常體現一種種族刻板印象，然後對整個社區強加於，造成的弊大於利。

One frustrating aspect of this trope is the narrative potential that these token characters possess. For instance, Dionne in Clueless is a charming and funny character, an instant fan favorite. However, without a proper storyline outside of her relationship and her role as the lead's ever-present wingwoman, the audience is deprived of what could have been a fully realized character.

這些trope的一個令人沮喪的方面是這些代幣人物所具有的敘事潛力。例如，《無知》中的Dionne是一個迷人而有趣的角色，是粉絲的最愛。但是，如果沒有適當的故事情節，她的戀愛關係和作為主角永遠存在的女友的角色，觀眾就被剝奪了本來可以完全實現的角色。

Besides poor representation, tokenization also limits the opportunities for talented Black actors, who are often forced into poorly written roles as their only entry point into the industry. To improve this situation, we need more diversity in the predominantly white field of screenwriting and greater thoughtfulness and precision in writing Black characters.

除了代表不佳之外，令牌化還限制了才華橫溢的黑人演員的機會，這些黑人演員經常被迫擔任成文作的角色，這是他們進入該行業的唯一切入點。為了改善這種情況，我們需要在編劇的主要白色領域以及編寫黑人字符的更加周到和精確度中更多的多樣性。

Fortunately, the ability to write compelling characters does exist, and it's time for directors and screenwriters to apply it equally to all cast members. A good example is Eric from Sex Education, a well-rounded character who happens to be Black, not the other way around. This is likely due to Sex Education having a more diverse writing room than the typical Netflix original. Another excellent example is Mary Lamb in The Holdovers, a complex and engaging Black character who contributes meaningfully to the narrative.

幸運的是，編寫引人注目的字符的能力確實存在，並且是時候讓董事和編劇將其平等地應用於所有演員成員的時候了。一個很好的例子是性教育中的埃里克（Eric），這是一個全面的角色，恰好是黑人，而不是相反。這可能是由於性教育的寫作室比典型的Netflix原件更多樣化。另一個很好的例子是瑪麗·蘭姆（Mary Lamb）的保留地，這是一個複雜而引人入勝的黑人角色，對敘事做出了有意義的貢獻。

Tokenization is not only poor representation but also harmful and degrading to an entire race. Directors and screenwriters must provide the same care and attention to detail to Black characters as they do to white characters. Shows and movies will ultimately be better for it.

令牌化不僅是代表不良，而且是對整個種族的有害和貶低的。導演和編劇必須與對白人字符相同的細節和細節的關注和關注。節目和電影最終會更好。