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The Modernist Poetics of Rivers ― The River (Dir. Tsai Mingliang 1997) and Dooman River (Dir. Zhang Lü 2010)

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주제분류중국어와문학

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蔡明亮的≪河流≫及張律的≪豆滿河≫充份表演了兩位導演的獨特拍攝手法及其哲學形式上的特色, 因此這兩部電影深受國內外學者及電影評論員的歡迎. 這兩部電影表現類似的影象美學-河流, 河流這題材在此美學中占有很重要的地位. 本文將稱此影像美學為現代主義詩學. 這兩部電影表現出安靜的、空虛的“緩慢電影”. 因此本文將比較這兩部電影從而探討這兩部電影如何表現都市河流與鄉村河流. 再者, 探討兩部電影都如何反對整體性的政治學而表達邊緣性, 流動性及空間的詩學. 這兩部電影裡流動性與性別有關係. 此兩部電影的開端都是以河流上的屍體的主體.≪河流≫裡食品與性交有着關聯, 而“門”或“蓋子”則表現後現代主義哲學的特徵. ≪豆滿河≫的空間背景是中國與北韓之間的邊境鄉村. 此部電影通過凍結的豆滿河的主體或詩學提起超越超國家主義的問題.

참고문헌 (22)

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