摘要
作为一个游走于国际影坛的中国电影作者,贾樟柯电影的纪实风格和为小人物立言的态度早已成为国内外学界研究的共识,而在其新写实主义影像精神的共识下,我们似乎忽视了其作为一个中国导演的那种源自东方美学的独特的言说方式。当我们将散见于贾樟柯电影中具有中国传统美学意蕴的物象提取出来,并置于当代中国巨变的时空语境中时,一条"物""我"断裂的叙事隐意便逐渐清晰地浮现在我们眼前。
As a Chinese film author popular in the global films circle, the documentary style of Jia Zhangke’s film and his attitude towards the nobody has long been the consensus of academic research at home and abroad. Under the consensus of the spirit of the new realism, we seem to ignore the way Jia Zhangke expresses the oriental aesthetics in his films as a Chinese film author. When we extract the imagery of Chinese classical aesthetics scattered in JiaZhangke’s film and put it in the space-time context of the great changes of contemporary China, the discontinuit ynarrative of “thing” and “I” gradually emerges in front of us.
作者
郎静
LANG Jing(School of Arts,He Bei University,Hebei Baoding 071002,China)
出处
《上海大学学报(社会科学版)》
CSSCI
北大核心
2019年第3期35-44,共10页
Journal of Shanghai University(Social Sciences Edition)
基金
国家社会科学基金一般项目(18BZW029)
关键词
东方意象
东方美学
贾樟柯电影
断裂叙事
去象征化
oriental imagery
oriental aesthetic
Jia Zhangke’s film
discontinuity narrative
de-symbolization