电影如何言说中国主体——兼论“第三世界叙事”与“柔软的主体性”

How Does Film Represent Chinese Subject: The Third World's Narration And Soft Subjectivity

本文首先对20世纪90年代以来中国电影里的主体言说之困进行了历史脉络的梳理,随后以现象级电影《战狼2》为例,论述其如何在第三世界叙事中建立起更具超越性的"命运共同体"叙事来言说中国主体。在这种言说中,吴京发挥其柔软的主体性对好莱坞模式进行改造。在走向成熟的中国主体言说的过程中,这种柔软的主体性依然存在提升的空间。

This research focuses on the issue of ＂how does film represent Chinese subject？＂. First of all, I explore the historical contexts of the dilemma of the representation of subject in Chinese film since the 1990s. Then taking Wolf Warrior 2 as an example, I discuss how to represent Chinese subject by constructing a narration of more transcendent ＂fate community＂ in the third world narration. I argue that in this representation, Wu Jing reshape the Hollywood model by his ＂soft subjectivity＂. In the process of moving towards a mature Chinese subject, this kind of soft subjectivity still has room for improvement.