规训与反抗的空间政治——论新生代导演电影中的“县城”

Spatial Politics of Discipline and Resistance——On the “County” in Movies by New Generation Directors

"县城"是中国当代文化中具有双重意蕴的表征对象,一方面作为文艺创作者思考和展现的本体,具有从风光无限走向破败不堪的现实特性;另一方面,承担着社会转型与文学转型的标记效用,其反映的内容和手法具备象征特质。对于这类影片的主人公来说,他们生活居住的县城往往呈现出压抑、禁锢的色彩,分隔的"城墙""栅栏"象征了人的异化与情感的疏离。这种人际关系状况也直接导致了他们中的青年人渴望逃离县城。电影中反复出现的"火车""站台"的意象构成了一种"出走"的空间隐喻,但即或成功逃离,也未必能够获得真正的精神上的解脱,终究可能还是要归来,当然归来也意味着再次出发。

The ＂county＂ is a representation object with dual implications in contemporary Chinese culture. On the one hand,as the noumenon of the literary and artistic creators＇ thinking and presentation,it has the realistic property of going from boom to dilapidation. On the other hand,it bears the mark utility of social transformation and the literature transformation,and the content and technique that it reflects have symbolic characteristics. For protagonists in movies of this type,the county they inhabit in often presents a depressed and imprisoned feature,and the separate ＂wall＂and ＂fence＂are the symbols of human alienation and emotional alienation. And this interpersonal relationship also leads directly to the desire of young people to escape from the county. The recurring images of the ＂train＂and ＂platform＂in the movies are a spatial metaphor for ＂departure＂,for although they can escape successfully,it is impossible for them to obtain the true spiritual liberation,and finally they will be back,but the return also means departure again.