摘要
《邪不压正》是姜文电影能指狂欢式的美学追求的继续发展,但其密集的能指在显现为风格的同时,也伤害了影片的类型和叙事。最终,在能指的浮夸中,该片走向了姜文电影的反面,即威权重构的道路。
Hidden Man can be seen as a continuation of Jiang Wen＇s obsession with ＂carnival of signifiers＂, which serves as his unique style, meanwhile interrupts the narrative of film. Under a extravaganza of signifier, Hidden Man goes to the reconstruction of patriarchy, the opposite site of Jiang Wen＇ previous films.
出处
《电影艺术》
CSSCI
北大核心
2018年第5期67-70,共4页
Film Art
关键词
邪不压正
能指
类型
父权
Hidden Man
signifier
genre
patriarchy
