好莱坞的象征性黑人角色的问题

为了表现出多样化和文化意识，电视和电影导演偶尔会抛出一个没有实质性特征，人际关系或叙事的单个黑人角色。

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.

好莱坞经常试图通过在电影或电视节目中添加一个黑色角色来表现出多样化和包容性。但是，这些角色通常是不良发展的，并且仅用于支持白色铅。这种称为令牌化的做法是有害的，无法提供有意义的代表。

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.

尤其是黑人儿童，将这些三心二意的尝试作为其主要文化代表。这些角色缺乏深度，人际关系和个人叙事，体现了黑人搭档的有害刻板印象。

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，加布里埃尔联盟（Gabrielle Union）在我讨厌你的十件事中的角色，她就是所有人的典型例子。她的角色，贞操和凯蒂（Katie）分别是白人领导者的最佳朋友，但观众对他们的兴趣，爱好或家庭一无所知。

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.

另一个例子是悉尼·普雷斯科特（Sydney Prescott）在《尖叫2》中的最好的朋友哈利（Hallie），尽管在第一部电影中特别缺乏，但他加入了完全白色的演员。她的补充没有明显的叙述原因，是令牌化的另一个实例。

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.

即使是高中音乐剧，甚至Z世代的收藏夹也无法免疫这种懒惰的多样性尝试。乍得和泰勒（Chad and Taylor）分别是加布里埃拉（Gabriella）和特洛伊（Troy）的黑人最好的朋友，为情节增添了最小的价值，并主要为他们的白人朋友提供服务。

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.

也许最明显的例子是凯莉（Carrie）电影版《性与城市》（City and City）的黑人私人助理。尽管该节目的六个季节几乎没有有色人种，但嘉莉突然聘请了这部电影的黑人助手。路易丝（Louise）由詹妮弗·哈德森（Jennifer Hudson）饰演，在嘉莉（Carrie）一生的关键时刻提供了贤哲的智慧，但她自己的个人细节仅以小剂量揭示。

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.

在主要是白色的空间，例如温哥华郊区或大学，黑人的人经常承受着成为房间里种族唯一成员的压力。屏幕上的黑人角色将黑人人物陪伴，并加强了这样一个有害的想法，即这些奇异的角色仅基于刻板印象，代表了整个多样而复杂的人群。

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

此外，令牌黑人角色经常体现一种种族刻板印象，然后对整个社区强加于，造成的弊大于利。

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.

这些trope的一个令人沮丧的方面是这些代币人物所具有的叙事潜力。例如，《无知》中的Dionne是一个迷人而有趣的角色，是粉丝的最爱。但是，如果没有适当的故事情节，她的恋爱关系和作为主角永远存在的女友的角色，观众就被剥夺了本来可以完全实现的角色。

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，令牌化还限制了才华横溢的黑人演员的机会，这些黑人演员经常被迫担任成文作的角色，这是他们进入该行业的唯一切入点。为了改善这种情况，我们需要在编剧的主要白色领域以及编写黑人字符的更加周到和精确度中更多的多样性。

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.

幸运的是，编写引人注目的字符的能力确实存在，并且是时候让董事和编剧将其平等地应用于所有演员成员的时候了。一个很好的例子是性教育中的埃里克（Eric），这是一个全面的角色，恰好是黑人，而不是相反。这可能是由于性教育的写作室比典型的Netflix原件更多样化。另一个很好的例子是玛丽·兰姆（Mary Lamb）的保留地，这是一个复杂而引人入胜的黑人角色，对叙事做出了有意义的贡献。

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.

令牌化不仅是代表不良，而且是对整个种族的有害和贬低的。导演和编剧必须与对白人字符相同的细节和细节的关注和关注。节目和电影最终会更好。