后金融海啸时代香港（电影）的自我想象——以《岁月神偷》为例

罗启锐导演的自传性作品《岁月神偷》,以其＂纯正港式情怀＂成为近三年来所谓＂港片回归＂潮中最具代表性的作品。影片通过对童年的回望,以怀旧的脉脉温情改写了20世纪60年代香港动荡的历史。本文试图以《岁月神偷》为例,剖析金融海啸之后所谓的＂港片回归＂潮中香港电影对自身历史的再现与重构方式,同时借重这些港片生产、营销等政经方面材料揭示＂港片回归＂命名的悖论,更意欲从＂电影事实＂与＂影片事实＂的层层缠绕中彰显在日益汹涌强势的大陆资本与文化霸权面前,香港电影在文本内外都仍深陷＂再殖民/再国族＂二元对立的泥沼,如将其置于文化保育运动这一语境中,更加可见香港这一晚殖民城市的文化认同政治所面临的多重陷阱。

Owning to its ＂pure Hongkongese feelings ＂,Echoes of the Rainbow autobiographically directed by Law Kai Yui has been regarded as one of the most representative films in Boom of ＂Hong Kong Films Regression＂over the last three years. By looking back on the childhood,this film rewrites the turbulent Hong Kong history in 1960 s with a warm nostalgic style. On the example of the very film,this paper attempts to analyze how the Hong Kongfilms represent / reconstruct their own history in the so-called Boom of ＂Hong Kong Films Regression＂after the Financial Tsunami. Meanwhile,based on the political / economic materials of film production,marketing and distribution,the naming paradox of ＂Hong Kong Films Regression＂will be revealed as well. In addition,I shall argue that facing to the stronger Mainland Capital and Cultural Hegemony,Hong Kong films have been thrown into a dilemma of dichotomy between ＂re-colonization＂and ＂re-nationalisation＂—both inside and outside of the text —under maskers of ＂Movie facts＂and ＂Film facts＂.Last but not least,if embedding the Hong Kong films into the context of Cultural Heritage Conservation Practices / Movement,I shall easily point out the multi-difficulties which are inevitably encountered by the politics of Cultural Identity of such a late colonial city.