《南方车站的聚会》:话语消散后的影像“独白”
摘要
导演刁亦男通过《南方车站的聚会》表现出了与当前中国艺术片作者不同的面相和趣味,他的电影观念对于当前的中国电影创作是一种必要而有益的提示,我们对此应有敏感的把握,以判断这一现象级影片的价值。在影片本身的意味和它被接受、传播的逻辑之间,很可能存在错位。电影文化工业包容的仅是这部影片的外延,它的内涵还需要在与多种话语的多次对话中得到显现。
In his new work Wild Goose Lake, Director Diao Yinan practicedhis new cinema idea and aesthetic taste which markedly differed from the other contemporary Chinese arthouse film auteurs. However, it is difficult to understand it since there could be many discourses to interpret the text while none of them matches properly.
In his new work Wild Goose Lake, Director Diao Yinan practicedhis new cinema idea and aesthetic taste which markedly differed from the other contemporary Chinese arthouse film auteurs. However, it is difficult to understand it since there could be many discourses to interpret the text while none of them matches properly.
引文
1柯诺.昆汀:喜欢《南方车站的聚会》在中国学会这些词. http://www.1905.com/news/20190524/1378361.shtml, 2019-05-24.
2戛纳首映时配了英法两种字幕,刁亦男在映后特别向现场的中国观众表示歉意,因为大多数中国人听武汉方言有难度。
3很难将片中出现的这处空间称其为广场,因为广场是有着特定意味的公共空间,与特定的意识形态叙事相关。而片中的这处空间恰恰高度疏离于意识形态化的叙事和空间。
2戛纳首映时配了英法两种字幕,刁亦男在映后特别向现场的中国观众表示歉意,因为大多数中国人听武汉方言有难度。
3很难将片中出现的这处空间称其为广场,因为广场是有着特定意味的公共空间,与特定的意识形态叙事相关。而片中的这处空间恰恰高度疏离于意识形态化的叙事和空间。