摘要
粤剧作为粤港澳大湾区受众面最广的传统戏曲,其宗教性、谐趣性、悲剧性和经验性等文化基因被1980年后的香港电影所提取,以多种表现方式渗透进电影的创作中,成为癫狂的喜剧噱头、互文的表意手段以及追问文化身份的中介,与其他元素同构了香港电影的“港味”美学风格。粤剧在此时之所以比其他曲艺曲种更广泛地用于香港电影,既取决于粤剧本身的特质,亦与彼时的社会文化语境有关。通过考察粤剧在1980年后香港电影中的呈现,对于以粤剧为代表的粤港澳大湾区文化在当下的传播具有重要意义。
Cantonese opera is a traditional opera most popular intheGuangdong-HongKong-MacaoGreaterBayArea,and its religious,bantering,tragical and empirical cultural genes have been absorbed by the Hong Kong movies after 1980.In a variety of ways theyrepresent crazy comedy,intertextuality,and intermediary of cultural identity,and constitute the aesthetic style of Hong Kongmovies.The fact that Cantonese opera was more widely used in Hong Kong movies than other forms of folk music at that time was not only determined by the characteristics of Cantonese opera itself,but also because of the social and cultural context.An investigation of Cantonese opera in Hong Kong movies after 1980 is of great significance for the current dissemination of the culture of Guangdong-HongKong-MacaoGreaterBayArea of which Cantonese opera is a representative.
作者
叶绵耀
YE Mian-yao(School of Communication,East China Normal University,Shanghai 200241)
出处
《汕头大学学报（人文社会科学版）》
2020年第5期20-26,94,共8页
Journal of Shantou University(Humanities and Social Sciences Edition)
关键词
粤剧
香港电影
文化基因
喜剧噱头
表意手段
中介
Cantonese opera
Hong Kong movies
cultural genes
crazy comedy
representation
intermediary
