全球景观与被围困的人——贾樟柯电影“世界”的裂变

The Global Spectacle and The Besieged Migrants——The Fission of Jia Zhangke's Film World

贾樟柯在"故乡三部曲"之后的故事影片《世界》不仅是他从"地下"转到"地上"的解禁之作,更表明了其电影"世界"地形学的初次裂变。因此,影片名称和创作者的无意识隐意在这里实现了双重的契合。在全球化和城市化大潮的裹挟下,小武兄妹在乡间小路上无意间踢到的可口可乐易拉罐发展为北京世界公园里的全球微缩景观,《站台》里反复回乡的公共汽车被世界公园里无法起飞的飞机所取代。一方面是全球景观所营造的宏大神话,另一方面是在合理性剥夺的语境下被遮蔽的空间困境,贾樟柯电影"世界"的裂变成为中国人在转型过程中境况的悖论书写。

The World,a feature film directed by Jia Zhangke after his famous ＂Hometown Trilogy ＂which includes Xiao Wu（ 1997）,Platform（ 2000）,and Unknown Pleasures（ 2002）,was not only Jia’s first work with the approval by Chinese government,but also the first topographical fission in his film world.Therefore,there is a double fit between the title and the unconsciousness of the director. Under the influence of globalization and the tide of urbanization,the Coca-Cola cans inadvertently kicked by Xiao Wu and his little sister on the rural roads turned into the miniature landscape of the world in the world park,and the repeatedly beck-home bus in platform was replaced by the plane that cannot take off in the world park. Consequently,on the one hand,there is a grand discourse created by the global landscape,on the other hand,a space dilemma is covered by the deprivation of rational context. In a word,from the Hometown Trilogy to The World,the world’s fission in Jia’s films has represented somewhat of paradoxical writing of the Chinese people who are in a transitional,or more precisely,transformed period.