贾樟柯电影中的金钱意象研究
A Study on the Image of Money in Jia Zhangke's Films
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초록
“金钱”作为贾樟柯电影中反复出现的意象，既是物质匮乏的象征，也是人性异化与社会分层的标尺。本文以《小武》、《任逍遥》、《三峡好人》等八部剧情片为研究对象，通过分析金钱物象的呈现形式、叙事功能及其时代隐喻，探讨贾樟柯如何以金钱意象映射社会变革中的底层生态。研究发现，金钱作为贾樟柯电影中重要的功能性物象，面额和币种是随着时代的发展而变化的，表现形式也呈从“显性”到“隐性”的变化趋势。在叙事功能上，金钱意象既塑造了底层人物形象，也串联了剧情，推动了情节的发展。此外，金钱意象还折射出时代发展背后的深层问题，即金钱导致社会分层和阶级对立，直观呈现了青年一代的成长困境，也异化了人的情感与社会道德规范。
Abstract
As a recurring motif in Jia Zhangke's films, “money” symbolizes not only material scarcity but also serves as a metric for human alienation and social stratification. This paper takes eight of Jia’s narrative films—such as Xiao Wu, Unknown Pleasures, and Still Life—as its primary objects of study. By analyzing the forms of money imagery, its narrative functions, and its symbolic meanings within the context of the times, the paper explores how Jia uses the image of money to reflect the social ecology of marginalized groups amid societal transformation. The study finds that money, as a functional symbol in Jia’s work, changes in denomination and currency in tandem with the evolving era, with its representation shifting from being explicit to more implicit over time. Narratively, the money motif not only shapes the portrayal of lower-class characters but also connects storylines and drives plot development. Furthermore, it reveals the deeper issues underlying societal development—namely, how money exacerbates social stratification and class antagonism, vividly illustrates the growing pains of younger generations, and ultimately alienates human emotion and social moral norms.