波罗的海三国的“旅居者电影”:跨国电影的身份范式与对话实践

The“Sojourner Cinema”of Baltic Countries:Identity Paradigms and Dialogical Practices in Transnational Cinema

作为跨国电影的新趋势,“旅居者电影”的核心理念是“根植本土的世界主义”。与“口音电影”不同,“旅居者电影”制作人的跨国流动不是出于被迫的流亡、无家可归和流离失所,而是源自对世界的好奇、发现和主动探索,是一种积极的全球化实践。“旅居者电影”弥补了“口音电影”的理论空白,提供了研究跨国电影现象的新范式。近年来波罗的海三国出现了一批典型的“旅居者电影”,展现出多声部、对话性的世界主义风格,进一步丰富了“旅居者电影”的内涵。

As an increasingly obvious trend of international cinema,“Sojourner Cinema”refers to the phenomenon of filmmakers voluntarily crossing borders to make films in the context of globalization,and the core concept of“Sojourner Cinema”is“rooted cosmopolitanism”.Unlike“Accented Cinema”,the producers of“Sojourner Cinema”belong to the urban class,their transnational mobility is not out of forced exile,homelessness and displacement,but out of curiosity,discovery,and active exploration of the world.Thus,“Sojourner Cinema”effectively fills the theoretical gap of“Accented Cinema”and provides a positive orientation in the process of globalization and a new paradigm for studying the phenomenon of transnational cinema.In recent years,a number of typical“Sojourner Cinemas”have appeared in the Baltic three countries,showing a multi-voice,dialogic style of cosmopolitanism,further enriching the connotation of“Sojourner Cinemas”.