摘要
不少香港导演借异地故事构作香港寓言,其中徐克尤其值得重视。根据詹姆逊的看法,怀旧电影借助非历史地拼凑各种有关过去的形象,创造出一种新的过去,传达一种非关历史的“过去性”。在这种定义下的怀旧电影中,徐克的怀旧电影是一个例外,其中的上海想像包含各种来自不同文本的元素,体现了后现代怀旧电影拼凑的特点。徐克着重言志的风格,使他关于上海的怀旧电影,呈现出某种独特的双向性———在追寻过去的同时,指向现在与未来;在虚饰、拼凑的历史性中,产生历史反思。正是这种在后现代主义里追寻历史的坚持,使徐克关于上海的怀旧电影,在同类的电影中展现出与众不同的维度。
Among various Hong Kong directors who constructed Hong Kong allegory through exotic stories, Tsui Hark is an important case that should not be disregarded. According to Fredric Jameson, nostalgic movies create a new past and convey a＂ pastness＂ that has nothing to do with history by a unhistorical collage of images about the past. However, Tsui Hark＇s nostalgic movies are exceptions, especially his imagination of about Shanghai that embraces various elements from different texts and embodies the features of postmodern movies＇ collage. Tsui Hark insists on a style of expressing the director＇s intention, thus makes his nostalgic movies about Shanghai have double dimensions - in pursuit of the past, the movies points to now and future; in fabricated historicity arises historical reflection. It is the historical dimension in postmodernism that distinguishes Tsui Hark from other Hong Kong-Shanghai nostalgic movies.
出处
《江苏大学学报（社会科学版）》
2006年第3期67-73,共7页
Journal of Jiangsu University(Social Science Edition)
