摘要
回顾我国电影的发展历程,青春电影始终在时代发展中进行自我更新,并聚焦于青年的成长问题。自《致我们终将逝去的青春》掀起了国产青春电影的创作热潮,早期国产青春电影仍以怀旧叙事为主,表达青年的个体独语。直到《悲伤逆流成河》上映,国产青春电影拓宽叙事边界,聚焦校园暴力引发的青年问题,手法上呈现先锋主义文学的叙事特点。此后,《兔子暴力》更是将叙事延伸至性别与暴力,探索女性的成长与反成长关系,呈现青年发展与城市发展的密切关系。本文将借助结构主义与叙事学理论,尝试探寻国产青春片的叙事焦点转向。
Reviewing the development of Chinese youth films,we know that whelk films are always self-updating at the times development and focusing on the growth of adolescents.Since So Young set off the boom of domestic youth films,the early domestic youth films are still dominated by a single nostalgic narrative,expressing the individual language of young people.It was not until the release of Cry Me a Sad River that domestic youth films began to broaden their narrative boundaries,focusing on the issues caused by school violence and highlighting the narrative characteristics of avant-garde literature in their approach.Later,the release of Rabbit Violence had enriched the narrative to gender and violence,showing the strong language tension and the close relationship between youth development and urban development.
作者
李佳
徐榛
Li Jia;Xu Zhen(Yangzhou University,Yangzhou,225002)
出处
《语言与文化研究》
2022年第4期195-201,共7页
Language and Culture Research
基金
江苏省高等大学创新创业训练计划基金项目“青年的电影,电影的青年:对当代青年成长问题的透视”的阶段性成果,项目编号:202111117051Y。
关键词
青春电影
模式化
性别
暴力
叙事焦点
A youth movie
Stereotypes
Sex
Violence
Narrative focus
