文革经验的厚重巡礼——论电影《归来》中双重父权的认同困境

A Dignified Tour of the Experience in the Cultural Revolution: on the Difficulty in Identifying with Double Patriarchy in the Film, Coming Home

《归来》的影像叙述并不轻巧,而是十分沉重地挣扎于双重父权的张力之中,家庭情感的私人父权与文革政治的公共父权的冲突或同谋,构成了女性对爱人追求的爱而不得,子辈对亲情父亲的背叛与体认,女性对丈夫依附的左右迷津。子辈的自私背叛与亲情父亲的体谅化合,以及沉重的爱情叙事及其延宕的爱情神话,在失忆与记忆的双重叙事中,共同缔结出私人父权与公共父权在冲突和同谋后的一次仪式性共鸣。

The filmic narration of Coming Home is not a relaxed one as it struggles, in a heavy manner, in the tension of double patriarchy, and the conflict or conspiracy of the familial or emotional private patriarchy and the public patriarchy of the politics of the Cultural Revolution creates a situation in which a woman loves her man but fails to secure him, children betray their father and come to understand him, and a woman is lost in her attachment to her husband. The selfishness of the children in their betrayal and the sympathetic understanding of their father, as well as the heavy narration of love and the deification of delayed love have ritualistically resonated in the conflict and conspiracy of private patriarchy and public patriarchy in the double narration of memory loss and memory.