本土性·中国性·现代性——论两岸三地新电影中的身份政治

Nativeness, Chineseness and Modernity: On the Identity Politics of the New Films in China's Mainland, Hong Kong and Taiwan

众所周知,两岸三地新电影可谓"龙生三子各不相同"。鉴于三地身份政治的复杂性与交互性,论文从本土性、中国性、现代性三维度立体化地介入试图清晰地勾勒出各自的发展脉络。笔者认为,香港呈现为多元的本土性、他者的中国性、媚俗的现代性;台湾表现为写实的本土性、"怨恨"的中国性、反思的现代性;大陆演绎为溯源的本土性、扬弃的中国性、启蒙的现代性。"三性"在"三地"新电影中的水乳交融、错综纠葛,构建起不同的经验表述与美学理念。

It is a well-known fact that new films in China's Mainland, Hong Kong and Taiwan are like ‘three different sons born by the same dragon＇. Because of the complexity and interactive nature of their films, this paper attempts to render a clear delineation of the veins of their respective development by approaching them from a three-dimensional angle of nativeness, Chineseness and modernity, with the finding that Hong Kong films are characterized by multi-faceted nativeness,an Othered Chineseness and a kitsch modernity, that Taiwan films are characterized by realist nativeness, a resentful Chineseness and reflexive modernity, and that mainland Chinese films are characterized by a source-seeking nativeness, a Chineseness bent on discarding the old and embracing the new and an enlightening modernity. These three features in these three places, interwoven and entangled, have constructed an expression of different experiences and aesthetic concepts.