摘要
新世纪伊始,台湾电影全面陷落,直至2008年电影《海角七号》的上映,台湾电影才出现转机。随后一批新的青年导演浮出水面,台湾电影也进入了后海角时代。耐人寻味的是这批导演都不约而同地在自己的作品中通过认同危机的凸显、特有历史影像与全球化语境下跨国文化的建构,讲述了同一的叙事母题:身份迷失与国族重建。同时这一问题的解决将成为两岸电影创作长期的一个叙事母题,也成为了影响两岸电影能否进一步合作的重要因素。
At the beginning of the new century, Taiwan film completely subsided, and until the 2008 film 'Cape NO.7' released, the Taiwan films turned the corner. Then a new batch of young directors surfaced, and Taiwan film also entered the era after the cape. It's interesting that these directors tell the same narrative motifs: Identity and National Reconstruction in their work through identity crisis, the unique historical images and cross-cultural context of globalization construction. Meanwhile the solution to this problem will become a long narrative filmmaking motif and an important factor affecting the further cooperation on both sides of the film.
出处
《新疆艺术学院学报》
2013年第4期78-81,共4页
Journal of Xinjiang Arts University
关键词
后海角时代
台湾电影
身份迷失
国族重建
The era after the cape
Taiwan film
Identity crisis
National reconstruction
