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中国的电影艺术,一直在寻找着既凸显中国本土化,同时又避免影像符号化的艺术呈现模式。在此过程中,文化叙事与视觉快感,这两者的弥合问题是中国电影需要重视和完善的核心所在。《泰囧》和《温故1942》在商业炒作冷却几月后,可算作这一文学艺术问题的典型个案。这两部影片的风格迥异,但从内在看都一致地经由本土化叙事与视觉快感的弥合中呈现出了活生生的中国人丰满且特有的生存空间与心灵世界。由此,文化研究者可探究中国电影艺术中本土化叙事、本土化景观与视觉快感之间的文化关联。
China’s cinematic art has been looking for an artistic mode of representation that not only highlights China’s localization but also avoids imagery. In this process, the issues of cultural narration and visual pleasure, and the bridging between the two are the core of the Chinese film needs to be emphasized and perfected. A few months after the commercial speculation cooled down, “Thai Embarrassed” and “The Westerner 1942” can be regarded as typical cases of this literary and art issue. Both of these films are quite different in style, but from the inner perspective they all present the full and unique living space and spiritual world of living Chinese through the fusion of localized narration and visual pleasure. As a result, cultural researchers can explore the cultural relationship between localized narration, localized landscape and visual pleasure in Chinese cinema art.