华语电影中价值重构的破碎与互文性的分裂——以王家卫《一代宗师》为例
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摘要
在华语电影的当代进程中,王家卫用《一代宗师》的创作,企图在末世情怀下进行价值重构,试图对武侠片和传统文化进行另一种诠释。然而这种重构的努力,在历史旨趣和哲学意味上,并不成功。同时,在电影接受学的层面上,也显示出了强烈的不均衡。这种试图表达出对民族传统的关怀、对消失历史的责任、对后现代性的反思和批评,是当下华语电影的共同历史属性。
In the contemporary process of Chinese-language movies, the director Wang Jiawei attempted to reconstruct the value in the doomsday scenario and make an alternative interpretation of martial arts films and traditional culture in his movie "The Grandmaster". However, this reconstruction effort was not successful in terms of historical purport and philosophical significance.At the same time, it shows an acute imbalance in terms of acceptance aesthetics. This kind of attempt to express the concern for the national tradition, the responsibility for the disappearance of history, and the reflection and criticism of post-modernity are the common historical attributes of current Chinese-language movies.
In the contemporary process of Chinese-language movies, the director Wang Jiawei attempted to reconstruct the value in the doomsday scenario and make an alternative interpretation of martial arts films and traditional culture in his movie "The Grandmaster". However, this reconstruction effort was not successful in terms of historical purport and philosophical significance.At the same time, it shows an acute imbalance in terms of acceptance aesthetics. This kind of attempt to express the concern for the national tradition, the responsibility for the disappearance of history, and the reflection and criticism of post-modernity are the common historical attributes of current Chinese-language movies.
引文
(1)隋书﹒卷三十五﹒经籍四[M].北京:中华书局,1973:V1095.
(2)徐皓峰.无道之器[A].《刀与星辰》[M].北京:世界图书出版公司,2012:7.
(3)http://blog.sina.com.cn/s/blog_467a4e7c0100d4sp.html,徐皓峰在访谈中说:“武侠小说是中国很长的一条脉,从司马迁的《刺客列传》,那个写得太好了,到明清的志怪小说,到金庸古龙,变到我这儿,自然生起来一些新的东西。司马迁写的为什么档次高,它写失败。还有,以前诸如还珠楼主这样的大家,武侠小说都是写现实生活。所以我想,一个是写失败,一个是写当代。”
(4)詹明信.晚期资本主义的文化逻辑[M].北京:生活读书新知三联书店,1997:459.
(5)詹明信.晚期资本主义的文化逻辑[M].北京:生活读书新知三联书店,1997:506.
(2)徐皓峰.无道之器[A].《刀与星辰》[M].北京:世界图书出版公司,2012:7.
(3)http://blog.sina.com.cn/s/blog_467a4e7c0100d4sp.html,徐皓峰在访谈中说:“武侠小说是中国很长的一条脉,从司马迁的《刺客列传》,那个写得太好了,到明清的志怪小说,到金庸古龙,变到我这儿,自然生起来一些新的东西。司马迁写的为什么档次高,它写失败。还有,以前诸如还珠楼主这样的大家,武侠小说都是写现实生活。所以我想,一个是写失败,一个是写当代。”
(4)詹明信.晚期资本主义的文化逻辑[M].北京:生活读书新知三联书店,1997:459.
(5)詹明信.晚期资本主义的文化逻辑[M].北京:生活读书新知三联书店,1997:506.