异质空间中的“女妖”意象——兼论华语魔幻电影的审美叙事

"Goblins" in the Heterogeneous Space: Narrative Structures of Chinese Fantasy Films

在全球化的魔幻影视大潮中,中国电影界也掀起了一股本土魔幻之风。纵览近年来上映的系列华语魔幻大片,从2008年的《画皮》到2012年的《画皮2》,在题材的选择和叙事的策略上形成了"不约而同"的中国特色。从电影作为当代流行文化的媒介语境介入,回溯到传统文化中"人妖恋"模式的神话叙述和志怪书写,通过比较分析影视镜像所建构和呈现的"女妖"意象及其叙事张力,可以窥探到"女妖"作为一种神话母题和意象符号存在的价值新变和历史文化内涵。

In the global tides of fantasy films, Chinese mainland is also under the influence of the phenomena. Regarding the Chinese fantasy films of recent years, from Painted Skin to Painted Skin II , both the selection of theme and the strategy for narrative exemplify ＂coincidental＂ Chinese features. Film has been regarded as the medium for contemporary popular culture; the mythological narrative and books on anecdotes in traditional Chinese culture involve the pattern of ＂love between man and fairy＂ ; through the analysis of the cinematic images of ＂goblins＂, and the structure and tension of the narrative, transformed values and cultural significances of the image of ＂goblins＂ are discovered as a mythological theme and an imagery symbol.