摘要
本文以香港喜剧《黑玫瑰对黑玫瑰》为个案研究,分析了20世纪90年代香港电影中存在的两种空间属性:一种是后现代手法的戏拟性的空间,它标志着香港类型电影空间表达的形式化和规范化;另外一种是对此时此地的陌生性空间的绘量与把握,这种空间既意味着影像在元语言的层面上拒绝类型化,也意味着20世纪90年代类型电影对空间表达存在一定的开放性和试探性。对两种空间的探讨为我们思考全球化背景下电影对事件的呈现及该呈现方式与电影的类型化之间的关系提供了原创性的进路。
In analyzing the spatial presentation in the Hong Kong comedy 92 Legendary La Rose Noire, this paper scrutinizes two conspicuous forms of space in Hong Kong cinema of the 1990s. One is the space of postmodernist parody, which symbolizes an increasingly formulaic and genetic development. The other form of space is marked by an avant - garde presentation of ' here and now', with an effort to grasp with and open to an absolute altetity. An exploration of spatial presentation can largely contribute to re- considering the relationship between filmic approach to event and genetic development within a context of globalization.
出处
《文化艺术研究》
2013年第2期131-134,共4页
Studies in Culture and Art