警惕、克服与焦虑——新世纪韩国犯罪片之类型经验系统研究

Vigilance,Overcoming and Anxiety——A Systematic Study of the Genre Experience of South Korean Crime Films in the New Century

一般来说,对类型电影的研究分为经验系统和范式惯例两个部分,二者承转启合,互为前提;就新世纪韩国犯罪片而言,其类型经验尤为特殊。作为韩国电影的代表性类型,新世纪韩国犯罪片在民族历史、社会文化的断裂阵痛中与“幽暗意识”一拍即合,形成“警惕权力”“警惕人性”的经验系统,赋予犯罪类型以凌厉、冷酷的形式美感,以及强烈的社会批判意识。韩国文化中的“恨”元素则丰富了韩国犯罪片类型系统的感官体验层次,如“从绝境中的复仇到力不从心的自恨、自叹”“从激愤、夸张的人物性格到抑郁、低沉的影像风格”“从烈酒般张扬的情绪到意犹未尽的突然转折”等,从而逐渐形成韩国犯罪片凄美、阴郁的美学特色。在亚洲,韩国因中国与日本的强大而倍感压力,戏谑地自称为“三明治”国家,这种焦虑逐渐成为集体无意识,并烙印在韩国犯罪片中。

Generally speaking,the research on genre films can be divided into two parts:the empirical system and the paradigm and convention,which are closely correlated with each other.As far as South Korean crime films of the new century are concerned,their genre experience is particularly special.As a representative genre of South Korean films,South Korean crime films in the new century have been in harmony with the“dark consciousness”in the throes of the rupture of national history and social culture,forming an experience system of“vigilance against power”and“vigilance against humanity”,endowing the crime genre with a fierce and cold formal beauty and a strong social critical consciousness.The“hatred”elements in the South Korean culture has enriched the sensory experience level of the South Korean crime type system,“from revenge in despair to self-hatred and lament for ability falling short of wishes”,“from angry and exaggerated characters to depressed and deep image style”“from sentiment as strong as hard drink to sudden turns that leave people wanting more”,etc.,so as to gradually form the poignant and gloomy aesthetic characteristics of South Korean crime films.In Asia,South Korea,stressed by the power of China and Japan,playfully calls itself the“sandwich nation”,an anxiety that feeds into the collective unconsciousness and South Korean crime films.