中国科幻新名片与后人类时代的中国故事——以《流浪地球》的电影改编为中心

ChineseScience Fiction as a New Name Card and Chinese Story in Post-human Era:Centered on the Film Adaptation of Wandering Earth

刘慈欣等中国科幻作家群体取代“第五代”和“第六代”导演,成为近来国际舞台上备受瞩目的中国文化新名片,而以吴京为代表的中国男性的拯救故事,正在置换90年代以来银幕上的中国女性故事,成为西方客体化的凝视对象。电影《流浪地球》对刘慈欣原著小说的改编,显示为从人文主义崩溃的多重真相的后人类文本,到父子相继、家国同构的民族主义叙事的变化。这种变化生发了电影的相较于小说的三个新维度,即从地球的末日危机到中国拯救世界的大国叙事,从科幻电影的冷战阴影到中国崛起故事,从“谋女郎”的欲望面孔到吴京的硬汉动作。电影《流浪地球》书写的新自我认同,正是“逆全球化”时代里中国的困境与新契机。西方世界对这一新文化名片的接纳和认可,显影后金融危机时代调整乃至重构他者的进程。

Chinese science fiction writers such as Liu Cixin have replaced the“Fifth Generation”and“Sixth Generation”directors to become the new name card of Chinese culture on the international stage,while the salvation story of Chinese men represented by Wu Jing is replacing the objectified western gaze on Chinese women stories on the screen since the 1990s.The adaptation of Liu Cixin’s original novel in the film Wandering Earth shows the changes from the post-human text with multiple truths and the collapse of humanism to the nationalist narration with father and son in succession and the isomorphism of family and country.These variations give rise to three new dimensions of the film compared with the novel,that is,the narrative of China saving the world as a great power,the rise of China in the post-financial crisis era,and the Wu Jing’s tough actions.The new self-identity written in the film Wandering Earth is exactly the dilemma and new opportunity of China in the era of“anti-globalization”.The acceptance and recognition of this new cultural name card in the Western world also reveals the process of adjustment and even reconstruction of others in the post-financial crisis era.