摘要
"国家形象"既是国家现实的呈现,也是媒介建构的结果。以上世纪70年代的《精武门》、90年代的《黄飞鸿》、新世纪初的《叶问》等华语功夫电影为中心,考察影像中的国家形象与时代的互文关系,我们发现当代华语功夫电影的国家形象建构经历了政治认同焦虑、物质现代性追寻、文化自信重建的深层嬗变。而新近华语功夫电影的国家形象建构在理想性意识形态的敏锐输出同时,呈现出现实质感的匮乏。走出刻板叙事,实现理想性与现实感的平衡是华语主流商业电影获得有效认同的关键。
National image is not only the presentation of country＇ s realities, but also the construction by media. Taking Chinese Kung Fu movies such as 〈 FIST OF FURY〉 in 1970＇ s, 〈 Once Upon A Time In China〉in 1990% and 〈 Ip Man〉 in new century as example, observing the intertextuality between the national image and era shaping, we find that national image construction in the contemporary Chinese Kung Fu movies has experienced the change from political crisis of identity,material pursuit of modernity to renewal of cultural confidence. While national image construction in recent Chinese Kung Fu movies representes contradiction between sharp expression of ideal ideology and the lack of realistic texture. The key of Chinese mainstream commercial movies having effective identity is to be out of the stereotypical narrative and keep the balance between ideal and reality.
出处
《社会科学》
CSSCI
北大核心
2012年第6期187-192,共6页
Journal of Social Sciences
关键词
华语功夫电影
国家形象建构
深层嬗变
有效认同
Chinese Kung Fu Movie
National Image Construction
Deep Change
EffectiveIdentification
