“香港综合征”:中国香港电影在韩国(1977-1992)

Hong Kong Syndrome:Hong Kong Cinema in South Korea,1977-1992

任何在20世纪80年代的韩国度过青少年时期的人都会记得中国香港电影及其流行文化在当地文化领域的美好时代。中国香港电影在韩国曾长期被视为“低端的”文化产品。尽管“香港制造”的武侠和功夫电影很受欢迎,但大多数本土知识分子却厌恶它们。然而,从20世纪80年代开始,中国香港电影在韩国的地位迅速改变。《秋霞》在1977年的巨大成功以及成龙主演的《醉拳》的创纪录轰动,使原本被视为“工人阶级男性文化”的电影进入了“大众流行文化”领域,它们所代表的情节剧和功夫喜剧成了20世纪80年代中国香港电影在韩国受众中的主导类型,直到20世纪80年代后半叶本土评论家所谓的“香港黑色电影”的黑帮片的兴起。在整个20世纪80年代,中国香港电影是韩国最受欢迎、最有影响力的外来电影,甚至对好莱坞的市场地位构成了威胁。本文梳理了“香港综合征”在韩国的兴起和衰落,从20世纪70年代末的陈秋霞和成龙,到20世纪80年代中期周润发、刘德华和张国荣的中国香港黑帮片,再到20世纪90年代初以林青霞为代表的武侠电影的回归,而后者最终削弱了这一综合征。

Anyone who spent their teens in South Korea in the 1980s will surely remember the belle epoque of Hong Kong cinema and pop culture in the local cultural sphere.Hong Kong films had long been known as"low-end"cultural products in South Korea,and most local intellectuals loathed them despite the popularity of"made in Hong Kong"wuxia and kung fu films at the local box office.Beginning in the 1980s,however,the location of Hong Kong cinema in South Korea changed rapidly.The huge success of Chelsia,My Love in 1977 and the record-breaking sen-sation of Jackie Chan's Drunken Master brought what had been considered to be"working-class men's culture"to the realm of"everyone's popular culture".The films'respective genres,melodrama and kung fu comedy,became the dominant genres of the 1980s reception of Hong Kong cinema in South Korea,until gangster films,which local critics called"Hong Kong noir",emerged in the latter half of the decade.Throughout the decade,Hong Kong cinema was the most popular and powerful foreign cinema in South Korea and even threatened the status of Hollywood in South Korea's local film market.This article chronicles the rise and fall of"Hong Kong syndrome"in South Korea,from the late 1970s'Chelsia Chan and Jackie Chan to the mid-1980s'Hong Kong gangster films of Chow Yun-fat,Andy Lau and Leslie Cheung,and then to the early 199Os'return to wuxia with Brigitte Lin,which eroded the syndrome.