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作为20世纪五六十年代盛产“小情小趣的闺房戏”的香港导演,易文的电影实践在很大程度上折射出“冷战”前期香港文化生态所具有的通俗娱乐、暧昧混杂以及时而彰显时而隐蔽的政治化特征,同时也是电懋公司“文人电影”的典型代表。易文影片叙事中不同层次和面向的“节制”与“过度”构成了独特趣味,透露出其与通俗都市文学、新感觉派小说的深厚渊源,构成其在政治分化的香港影坛左右逢源的核心秘密。易文影片中“节制”与“过度”之间的辩证关系带来了他在现代都市生活表现上的突破与局限。
As the Hong Kong director and Yi Man’s film director, who is rich in “little playful little princess play” in the 1950s and 60s, the movie practice of Yi Wen reflects to a large extent the popular entertainment possessed by Hong Kong’s cultural ecology in the early days of the “Cold War” Ambiguous mixture of confusion and from time to time and highlight the sometimes hidden politicized characteristics, but also electric Mao company “literati movie ” typical representative. The different levels and orientations of “moderation” and “over” in Yiwen’s film narrative constitute a unique taste, revealing its deep origins with popular metropolitan literature and new sensationalist novels, and constitute Hong Kong’s role in political polarization Altar of the source of both the core secrets. The dialectical relationship between “moderation ” and “over ” in Yiwen ’s film brought him breakthroughs and limitations in the performance of modern city life.