青年文化的自我隔离与审美传达——欧洲后现代电影中的欲望深渊

Self-segregation and Aesthetic Expression of Youth Culture:Desire Abyss in European Postmodern Movies

20世纪中后期的后现代电影可谓席卷欧洲的重要文化现象,其将触角伸向了小人物的边缘生存环境和亚文化的暗地光芒。这其中,以欧洲后现代电影影响最为深重。作为感官审美的典型代表,欧洲后现代电影强化了试听感觉的即时性,试图从人性的角度深入青年文化最深层,甚至具有审美传达的强制倾向。现以欧洲后现代电影的代表性影片:弗朗索瓦·特吕弗的《祖与占》以及克日什托夫·基耶斯洛夫斯基的《红白蓝三部曲》之《红》《白》为对象,以语境分析和主脉情节分析为方式,通过探究影片中人物的身份复合、性别异质、权力物化和道德表象的关联,剖析在社会断面背景下青年文化中渗透的欲望追逐、个性变异和边缘化悬空,抓取所投射出的青年文化传播客体的社会性症结。

Postmodern film has been one of significant cultural phenomena sweeping over Europe in the middle and late 20 th century. They extend focus on marginally survival environment of the small potato and subculture. Among those phenomena, the influence of European postmodern film is significant. As a typical representative of sensory aesthetics, European postmodern film deepens directness of audition feeling. It proceeds from humanity, and attempts to reach the deepest of youth's heart, and even boasts forced inclination to aesthetics delivery. The thesis selects representatives of European postmodern film including Fran?ois Truffaut's Jules et Jim and Krzysztof Kieslowski's Red and White chosen from his trilogy of Three Colors, and uses contextual analysis and major plot analysis. Through relevance of figure's identity recombination, gender neterogeny, materialization of right and moral presentation, the thesis interprets youth's desire pursuit, personality variation and marginalized suspending at the background of fractured society, and finds social crux which is reflected by youth cultural transmission.