摘要
在新世纪武侠电影十几年的实践中,历史意识的缺失已经成为"武侠"丧失内功的主要症结。这种缺失,一方面导致武侠电影只能在征调自然景观、历史景观的装饰性上努力,通过"自然"的仿像性实现对"历史"的改装和消费;另一方面,历史深度意义的丧失和景观造成的大众价值观的自我殖民,也进而为各种意识形态在武侠文本中的肆意畅行进行美学护航。以《聂隐娘》《师父》为代表的"作者化"转型,能否成为武侠电影的出路选择,同样值得商榷。
In the practice of making martial-arts movies in the new century,the lack of historical consciousness has become the major sticking point of martial arts movies.On the one hand,the absence of historical consciousness results in the fact that film makers make extra efforts in applying natural and historical landscape decorations,trying to realize the modification and consumption of history through natural imitation.On the other hand,deeper historical connotations will get lost in this process,and the landscape will cause self-colonization of public values,which provide aesthetic shelter for various ideologies in martial-arts text.Whether the'author-oriented'transformation embodied in The Master and The Assassin is the way out for martial-arts films is still a question for discussion.
出处
《西南大学学报（社会科学版）》
CSSCI
北大核心
2017年第4期120-130,共11页
Journal of Southwest University(Social Sciences Edition)
基金
国家社会科学基金项目"中国现代武侠文学发生期研究(1900-1949)"(11BZW100)
项目负责人:韩云波
西南大学人文社会科学研究重大项目培育经费资助项目"多卷本<中国武侠小说史>"(14XDSKZ005)
项目负责人:韩云波
