跨越1997：作为身份与想象的载体 ―≪树大招风≫ 的解构与外延―
Crossing 1997: As a Vehicle of Identity and Imagination: On the Deconstruction and Extension of Trivisa
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
The 2016 film Trivisa produced by Hong Kong's Milkyway Image(HK) Ltd. won that year's Academy Award. The film is adapted from the real -life Three Thief Kings incident in Hong Kong's history. By reorganizing the time, the point when they came to their end was precisely arranged on the day before Hong Kong's return to China. While the current of the times has contributed to the end of the heroes, the kings of thieves are also a symbol of Hong Kong people's search for identity and imagination. This article places the film in the context of “film criticism”, attempts to deconstruct the film from a new perspective, explores its uniqueness in some dimensions, namely, social culture, artistic technique, narrative, cinematography and intra-cinematic text, and then extrapolates it to the construction of the Hong Kong people's identity and the hidden metaphors of the times, and then puts forward the thoughts on Hong Kong-made films in the meantime.
Abstract
The 2016 film Trivisa produced by Hong Kong's Milkyway Image(HK) Ltd. won that year's Academy Award. The film is adapted from the real -life Three Thief Kings incident in Hong Kong's history. By reorganizing the time, the point when they came to their end was precisely arranged on the day before Hong Kong's return to China. While the current of the times has contributed to the end of the heroes, the kings of thieves are also a symbol of Hong Kong people's search for identity and imagination. This article places the film in the context of “film criticism”, attempts to deconstruct the film from a new perspective, explores its uniqueness in some dimensions, namely, social culture, artistic technique, narrative, cinematography and intra-cinematic text, and then extrapolates it to the construction of the Hong Kong people's identity and the hidden metaphors of the times, and then puts forward the thoughts on Hong Kong-made films in the meantime.
참고문헌 (36)
- 褚婉婷, "从电影≪树大招风≫看香港电影新势力", 戏剧之家, (5) (2018)
- 戴锦华, "电影批评" (2004), 北京大学出版社
- 杜静, "西方电影文化批评阶段研究", 艺术教育, (7) (2014)
- 候东晓, "延续、影响与碰撞——战后“南下”影人与香港电影批评本土化意识的萌生", 港澳研究, (3) (2022)
- 胡企平, "电影音乐鉴赏" (2021), 上海音乐出版社
- 胡星亮, "西方电影理论史纲(修订版)精" (2021), 中华书局有限公司
- 姜震, "产业批评——电影批评领域的新趋势和新形态", 电影产业, (22) (2015)
- 峻冰, "20世纪外国现代电影理论的发展轨迹", 西南民族学院学报･哲学社会科学版, (1) (2002)
- 梁君健, "艺术与现实互动下的类型片演进——≪窃听风云≫三部曲与香港警匪片类型的当代演变", 文化与传播研究 (2017)
- 刘予倩, "≪树大招风≫与犯罪片的类型化叙事", 电影文学, (1) (2018)
- 楼成宏, "论反英雄", 外国文学研究, (2) (1992)
- 罗岗, "视觉文化读本" (2003), 广西师范大学出版社
- 罗永生, "解读香港卧底电影的情绪结构和变迁", 台湾社会研究季刊, (60) (2005)
- 彭吉象, "影视美学(修订版)" (2009), 北京大学出版社
- 祁林, "香港怀旧电影与文化认同", 社会科学战线, (1) (2008)
- 钱超英, "身份概念与身份意识", 深圳大学学报, (2) (2000)
- 强云, "美国电影中“反英雄”形象的解构与重构", 电影文学, (2) (2012)
- 屈高翔, "≪树大招风≫:身份认同的时代隐喻", 电影文学, (1) (2019)
- 史可扬, "影视批评方法论" (2015), 中山大学出版社
- 王岚, "反英雄", 外国文学, (4) (2005)
- 吴晓玉, "电影≪树大招风≫中“匪”的人物形象塑造", 戏剧之家, (16) (2017)
- 吴迎君, "阴阳界 : 胡金铨的电影世界" (2011), 复旦大学出版社
- 吴迎君, "香港电影理论批评的“特刊道路”建构", 民族艺术, (4) (2017)
- 杨智云, "≪树大招风≫：突破类型的“银河”新作", 视听 (2016)
- 游飞, "电影艺术观念" (2009), 北京大学出版社
- 张健德, "杜琪峰和香港动作电影" (2013), 复旦大学出版社
- 张竑, "齐泽克电影批评理论研究——以“凝视”理论为切入点", 理论界, (4) (2019)
- 张英进, "游离于香港与上海之间：怀旧，电影，文化想象", 中外文学, 29(10) (2001)
- 赵一凡, "西方文论关键词" (2006), 外语教学与研究出版社
- 中国电影艺术研究中心, "香港电影･10年" (2007), 中国电影出版社
- 周斌, "论电影社会心理学批评", 复旦学报, (5) (1997)
- 日丹, "影片的美学" (1992), 中国电影出版社
- 马塞尔, "电影语言" (1992), 中国电影出版社
- 罗伯特, "电影史 : 理论与实践" (1997), 中国电影出版社
- 塞巴斯蒂安, "动画电影" (2013), 浙江大学出版社
- 托马斯, "好莱坞类型电影" (2009), 上海人民出版社