后极权主义时代的主流影像叙事 —以 『南京!南京~』与『金陵十三钗』为例
Narratives in the Films and Dramas in the Post-totalitarian Ear - focused on “City of Life and Death” and “The Flowers of War”
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
In the beginning of the 21th century, there were a lot of changes in the mainstream films and dramas in China, which were set in the anti-Japanese wars, compared to those in the late 20th century. The results of the analysis of “City of Life and Death” and “the Flowers of War” show that these changes were the sign of post-totalitarian culture, i.e. the mix of discourse premises and entertainment premises of mainstream types. For this reason, narratives in the films and dramas expressed under such discourse system could not overcome the control of the national consciousness. And also it could not allow the description of treason and other types of narration. This also meant the final mix of the three types of the mainstream films, experimental films, and entertainment films, which have co-existed since the late 1980s in China, and at the same time, the disappearance of establishment of new types of narration and many possibilities which had already existed.
Abstract
In the beginning of the 21th century, there were a lot of changes in the mainstream films and dramas in China, which were set in the anti-Japanese wars, compared to those in the late 20th century. The results of the analysis of “City of Life and Death” and “the Flowers of War” show that these changes were the sign of post-totalitarian culture, i.e. the mix of discourse premises and entertainment premises of mainstream types. For this reason, narratives in the films and dramas expressed under such discourse system could not overcome the control of the national consciousness. And also it could not allow the description of treason and other types of narration. This also meant the final mix of the three types of the mainstream films, experimental films, and entertainment films, which have co-existed since the9 late 1980s in China, and at the same time, the disappearance of establishment of new types of narration and many possibilities which had already existed.
참고문헌 (14)
- 邓正来, "国家与市民社会：一种社会理论的研究路径", pp.339~ (2006), 世纪出版集团
- 骆俊澎, "拍摄“手撕鬼子”导演：抗日剧限令内部通知传达", 东方早报 (2013)
- 马嫚丽, "抗日“雷”剧调查：谁是雷人制造的同谋者", 搜狐娱乐 (2013)
- 杨靓, "1949年以来大陆抗战电影中国民党形象的演变", 电影评介, (1) (2010)
- 刘春阳, "政党、民族、全球——抗战题材影视剧中社会历史意识的变迁", 文艺新观察, (5) (2013)
- 李慎之, "无权者的权力和反政治的政治-后极权主义时代的人生哲学", 技术经济与管理, (6) (1998)
- 周南焱, "十三钗“床戏”引质疑：张艺谋艺术底线在哪里?", 北京日报, ~ (2011)
- 朱大可, "十三钗的情色卖国主义", 南方都市报, ~ (2011)
- 汤因比, "历史研究", pp.54~ (1959), 海人民出版社
- Hannah Arendt, "The Origins of Totalitarianism: New Edition with Added Prefaces", pp.341~ (1968), Harvest Book. Harcourt, Inc
- "后极权中国社会与李慎之现象"[URL]
- "卢雪松事件：后极权社会的典型征候"[URL]
- "后极权社会的新景观：“美丽新世界”和“老大哥”的联合"[URL]
- "抗日电视剧-甚嚣尘上，难得反思"[URL]