论王家卫电影的主体性

On Subjectivity of WANG Jiawei’s Films

“主体”是一种自我意识、自立精神以及自我文化品格形成、发展、混杂的历史性个体;“主体性”是投映在文艺作品中的对于自我历史存在的一种确认。《阿飞正传》展现了香港经验在中西方文化之间的振荡,但又将两种文化隔离于线性进程之外。《重庆森林》和《东邪西毒》正视“混杂”的生存体验,对当下有了一份现实性的体认,这是试图超越二元思维的起点。《花样年华》以文化潜意识压抑着对于自我已然“他者化”的指认,以视觉奇观遮蔽并延沓对话的可能性。《2046》叙事的封闭导致了乌托邦情境,一方面是自我主体性的延伸,一方面是对现实处境的无能为力。

“Subject”is a historical individual that the self-consciousness,independence spirit and self-cultural quality form,develop and mix.And“subjectivity”is a kind of confirmation of self-history projected in literary and artistic works.Days of Being Wild has shown the oscillation of Hong Kong experience between Chinese and the Western cultures and separation of the two cultures from the linear process.Chongqing Forest and Ashes of Time face up to the living existence of mixture,and have the experience of the current reality.This is the starting point which tends to surpass the duality thinking.In the Mood for Love recognizes the change from self to“others”constrained by the cultural sub-consciousness.It covers and delays the conversation with visual wonders.The closure of narration in 2046 leads to the utopian circumstance which one the one hand,is the extension of the self-subjectivity,and on the other hand,is the helpless before the reality.