从香港电影到华语大片：非洲叙事的成规与流变

From Hong Kong Movies to Chinese Movies:The Formation and Transformation of African Narratives

从20世纪80年代的香港电影到最近的《战狼Ⅱ》《红海行动》等华语大片,华语电影中的非洲叙事既形成一定成规,也发生若干流变。在叙事母题方面,非洲叙事从“夺宝”转向“反夺宝”,逐渐形成具有民族性特色的叙事模式,建构了中非之间的命运共同体关系。在叙事空间方面,非洲叙事以奇观化的空间再现为特征,且经历了从侧重自然人文景观到聚焦社会政治图景的变化,可惜未能越出好莱坞既有的视觉奇观策略和非洲想象范式。夺宝叙事与奇观叙事之间的抵牾,反映了华语影片非洲想象的撕裂。而意欲解决此问题并讲出代表中国主体、有中国特色的非洲故事,路径之一是重新回溯历史的叙事资源,发掘其中另类而富于新意的叙事实践。

From the Hong Kong movies of the 1980s to Chinese movies of today such as Wolf Warriors II and The Red Sea Operations , shows the formation and transformation of African narratives in Chinese movies. Their motif turns from adventure to anti-adventure, their plot becomes more Chinese. Their spectacular narrative space changes its focus from the natural to the social landscape. The conflict between treasure hunt narratives and spectacular narratives reflects a disintegrated African imagination by Chinese movies. The Chinese film industry shall return to a historical narrative to solve this problem.