摘要
贾樟柯的《海上传奇》试图以"口述史"的形式呈现中国百年近代史历程。但细究之下,它其实是以一种后现代主义的历史"碎片化"、叙事化的方式进行,呈现一种不论立场、却对历史真实莫衷一是的接近虚无主义的历史观。但与此同时,影片仍然保持了为后现代主义所摒弃的精英史观。作为市场经济下原子化的个体市民的代言人,影片没有一个坚实的"主体性";缺乏政治经济学的视野、阶级分析和"全球眼光",因此对于国族命运的盛衰走向也只能给予奇观化的呈现和人性化的个体命运的解读。
Although JIA Zhang - ke,s movie / Wish I Knew tries to represent China＇ s history in the past century with a practice of oral history; in reality it keeps a postmodern way of recording historical fragments which is akin to nihilism. In the meantime, it still shows an elitist historicism repudiated by post-modernism. Being the spokesperson of the individualistic, bourgeois citizens in the market society, it does not hold a firm subjectivity out of its shortage of the horizon of political economy and class analysis. Consequently, it only offers a spectacular kaleidoscope of the vicissitude of national destiny and an interpretation of it based on a humanist point of view.
出处
《烟台大学学报（哲学社会科学版）》
CSSCI
北大核心
2017年第5期55-66,共12页
Journal of Yantai University(Philosophy and Social Science Edition)
