摘要
近来的台湾电影把成长者大多限定在边缘的弱势群体,其成长挫折无关乎社会缺陷,并以主观情感的宣泄回避社会成长的理性禁锢。电影中大量出现的"同志现象",作为一种文化符号指向青年亚文化,不仅以"跨地域"的方式获得数量增长,而且因"全球化"打上了流行文化的烙印,透露出中立而无关痛痒的消费逻辑。台湾电影对日本存在或愤怒或亲近态度,恰恰证明了难以磨灭的殖民记忆。这种矛盾的表述具有自我挣扎的文化意味,在当下语境中向过去殖民者争取平等身份,正是由于过去存在显见的不平等。
Recently Taiwan film to growth are largely confined to the social edge of the vulnerable groups,their growth setbacks unrelated to social shortcomings,and to avoid rational social imprisonment from outlet subjective emotional. Large numbers of ＂gay phenomenon＂ of film as a cultural symbol point to youth subcultures,not only to ＂cross-boundary＂ way to get the number of expansion,but because of ＂globalization＂ branded imprint of popular culture,which revealed the neutral and irrelevant consumerism logic. The attitude no matter angry or close toward the Japanese in Taiwan film,just prove an indelible colonial memory,and such self-contradictory statements has the cultural meaning of the self struggle,in the present to fight against the past colonists for equal status,precisely because there is obvious inequality.
出处
《台湾研究集刊》
CSSCI
2010年第4期87-94,共8页
Taiwan Research Journal
