摆脱民族身份认同的束缚——福斯特电影改编与遗产电影批评

Away from the Restriction of National Identity——On the Forsterian Adaptations and Heritage Film Criticism

20世纪80、90年代,随着左翼知识分子对撒切尔保守主义政治批判的兴起,由福斯特小说改编而成的5部影片被纳入了"遗产工业"和"文化观光业"的讨论中,并被视作以"博物馆美学"为特色、"民族身份认同"为主题、"保守怀旧"为基调的遗产电影。通过考察遗产电影批评的研究方法和论证思路,本文旨在说明遗产电影批评的主观性和片面性,以及在具体分析中存在的过度强调外部语境、片面关注影像特质和主观臆断导演意图等多种局限性。

In the 1980s and 1990s, with the rise of political criticism on the Thatcherite Conservatism from the intellectual left, five films adapted from E. M. Forster＇s novels were brought into the discussion of ＂heritage industry＂ and ＂cultural tourism＂ . Being regarded as the typical examples of heritage film, these Forsterian adaptations were criticized for their obsession with ＂museum aesthetics＂ , ＂national identity＂ and ＂conservative nostalgia＂ . Through the examination on the research methods and analysis patterns of heritage film criticism, this paper intends to reveal the subjectivity and one-sidedness of heritage film criticism and demonstrate its limitations such as the overemphasis of socio-historical context, the excessive concentration on pictorial texture and the objective assumption of the directors＇ intention.