“去政治化”时代中国电影批评中的政治—对90年代以来电影批评思潮的一次考察

发布时间：2018-05-08 00:02

  本文选题：去政治化 + 政治　； 参考：《上海大学》2016年博士论文

【摘要】：当代中国电影批评思潮中的政治性根源于詹姆逊所谓中国电影作为“第三世界”文本的政治性,也与电影批评家所具有的“第三世界”知识分子身份相关。同时,这种政治性又必须要被纳入90年代以来的“去政治化”语境中来考量。作为90年代以来中国思想文化领域中的重要倾向,“去政治化”和“政治”并不是一种相互取消的关系,相反,“去政治化”本身是一种新的政治在当代思想文化中的表现。当代中国思想文化领域里“去政治化”可分为“去社会主义政治”和“去传统政治”两个层次,前者可细分为“去阶级论”、“去革命化”、“去民族主义”等不同方向,后者则可分为“去民族传统”、“去道德化”等不同方向。这些不同方面既体现出“去政治化”的倾向,也透露出“政治化”的诉求。90年代以来盛行的多种中国电影批评思潮都体现出这种双重面向。这种双重面向体现出了“去政治化”的辩证法,它要求我们放弃对这一概念的单向度理解。“现代性”批评思潮关注现代性主体的建构,并参与90年代以来中国电影中现代性空间建构的讨论;通过对谢晋电影、“第五代”、“第六代”影片的批评,将关注的重心引向文化传统的批判以及国民性批判;这一批评思潮对民族主义的反思也成为新世纪电影批评讨论的热点;随着新世纪一批人道主义电影杰作的出现,“现代性”批评通过阐发这些电影中的人道主义理念,展开对之前过于政治化的“阶级论”、“英雄主义”价值观以及和人道主义相抵触的传统价值观的反思。从“现代性”电影批评思潮关注的这些话题中,可以看出“去政治化”和“政治性”双重面向的辩证统一。后殖民电影批评重点以“第五代”电影为批评对象,这一批评有效揭开了“第五代”电影的跨文化运作模式与策略,指认出这些电影遵循的“自我东方化”书写套路,迫使“第五代”不得不放弃他们谙熟的模式而选择改弦更张,一定程度影响了中国电影发展的方向,对80年代以来社会文化思潮中盛行的西方中心观念也起到消解作用。但这一批评思潮在今天流露出一种令人不安的趋势,即极度的去国族中心,在一些批评家那里成为批评“中国中心论”,拆解中国主流文化和少数族裔、边缘群体之间“压迫性”关系的方式。后革命电影批评以其“去革命”倾向顺应了90年代以来的“去政治化”潮流,这一批评思潮在当代电影批评中的实践分为几个方面,一是对早期革命电影的重新解读,对左翼电影的解读,倾向于消解其中的革命性,将其还原为大众文化性质的文本;或者运用精神分析方法,呈现革命叙事背后隐藏的欲望向度;对“17年”革命电影的解读则致力于挖掘革命叙事中的反人性特质,或者揭露其意识形态构造的秘密。二是分析后革命时代对革命叙事的戏仿重构及逆革命叙事的书写方式。第三则体现为对新的革命叙事或类革命叙事的寻找,在此过程中不惜对许多文本做泛政治化的解读。作为补充,本章最后部分则关注新世纪出现的革命叙事影片所引发的批评界的分化以及对这些影片的对立性阐释。对意识形态批评思潮的分析集中于三个重点,一是它对主旋律电影的批评,二是对身体和欲望的关注,以揭示当代电影对欲望的钳制和对身体的意识形态规训,三是对伦理与政治关系的关注,以汪晖对谢晋电影伦理和政治的置换的考察为典型。在此基础上对这一批评思潮本身的批评,包括对意识形态批评包含的“去国族化”倾向和反体制追求的呈现,以及对“泛意识形态化”后果的分析。意识形态批评倾向于将道德解读为意识形态询唤的结果,其后果势必要走向“去道德化”。90年代以来的女性主义电影批评对如下几个选题都有密集的关注:对“17年”电影的再解读,从女性主义的角度关注这些电影中的女性表现,从而对新中国建国初期的女性解放成果进行重新评价;对女性导演及其作品的关注,女性主义批评以是否具有“女性意识”为标准,对这些作品中“女性的不可见”,女性意识的缺席进行揭示;对新时期男性导演的女性题材的批评,指出这些作品隐藏于其女性主义表象下的男权幽灵。最后,女性主义电影批评的“去政治化”倾向表现在,由于认为一切占主导地位的话语都是男性话语,女性主义倾向于将这些强势话语都屏蔽掉,导致它与国族话语、革命话语的激烈冲突;同时,由于认为伦理话语也是被男性主导的话语,女性主义电影批评也体现出一种“去伦理化”倾向。
[Abstract]:The political nature of contemporary Chinese film criticism is the political nature of Jameson's so-called "third world" text, which is also related to the "third world" intellectual identity of the film critics. At the same time, this political nature must be taken into consideration in the "de politicization" context since 90s. As an important tendency in China's ideological and cultural field since 90s, "to politicize" and "politics" is not a mutual cancellation relationship. On the contrary, "de politicization" itself is a kind of new political expression in contemporary ideology and culture. "De politicization" in the field of contemporary Chinese ideological and cultural can be divided into "to socialism". The former can be divided into two levels of "politics" and "go to the traditional politics". The former can be divided into different directions, such as "going to class theory", "to revolutionize" and "to nationalism". The latter can be divided into different directions, such as "go to the national tradition" and "go to morality". These different aspects not only reflect the tendency of "Depoliticization", but also reveal "politicization". This dual orientation embodies the dialectics of "de politicization", which requires us to give up the unidirectional understanding of this concept. "Modernity" of criticism is concerned with the construction of the subject of modernity and participated in China since the 90s, and participated in China since the 90s. The discussion of the modern space construction in the film; through the criticism of Xie Jin film, the "fifth generation" and "sixth generation" film, the focus of attention will be focused on the criticism of cultural tradition and criticism of national nature; the reflection on nationalism of this trend of criticism has also become a hot spot in the review and discussion of the new century, with a lot of humanism in the new century. The emergence of the film masterpiece, "Modernity" criticism, through the elucidation of the humanitarianism in these films, launches the reflection on the "class theory", "heroism" values and the traditional values that are incompatible with humanitarianism, which are too politicized before. "To politicize" and "political" dual oriented dialectical unity. Post colonial film criticism focuses on the "fifth generation" film. This criticism has effectively uncovered the cross cultural operation mode and strategy of the "fifth generation" films, and identified the "self Orientalism" writing routines followed by these films, forcing the "Fifth generation". We have to give up their familiar pattern and choose to change to a certain extent, which has influenced the direction of the development of Chinese films to a certain extent. It also dissolves the western central concept prevailing in the social and cultural trend of thought since 80s. The critics have been criticizing the "central theory of China" to dismantle the "oppressive" relationship between the Chinese mainstream culture and the minority and the marginal groups. The post revolutionary film criticism, with its tendency to "go to the revolution", conforms to the trend of "dispoliticization" since the 90s, which has been divided into several practices in the contemporary film criticism. One is to reinterpret the early revolutionary films, to interpret the left-wing films, to dissolve the revolutionaries, to restore it to the text of the mass cultural nature, or to use the psychoanalytic method to present the desire of the revolutionary narrative, and to unscramble the revolutionary narration of the "17 years" revolutionary film. The characteristics of the anti human nature in it, or the secret of its ideological structure. Two is the analysis of the parody of the revolutionary narrative in the post revolutionary era and the writing mode of the counter revolutionary narrative. The third is the search for the new revolutionary narrative or the kind of revolutionary narration. In this process, it does not hesitate to make a pan politicized interpretation of the many texts. The last part of this chapter focuses on the differentiation of the critical circles in the revolutionary narrative films in the new century and the interpretation of these films. The analysis of ideological criticism focuses on three points, one is its criticism of the main theme film, and the two is the attention to the body and desire to reveal the forceps of the contemporary movie to desire. The system and the ideological discipline of the body, three is the concern of the relationship between ethics and politics, and Wang Hui's investigation of Xie Jin's film ethics and political replacement is typical. On this basis, the criticism of this criticism, including the "nationalization of the nation" and the pursuit of anti institutional pursuit of ideological criticism, as well as the "pan". Ideological criticism is an analysis of the consequences of ideology. Ideological criticism tends to interpret morality as the result of ideological call, and the subsequent trend of feminist film criticism since the "demoralized".90 era has concentrated on the following topics: Reinterpreting the "17 years" of electricity and paying attention to the feminist perspective The female expression in these films reappraised the achievements of the women's Liberation in the early days of the new China; the attention to the female directors and their works, the feminist criticism, with the "feminine consciousness" as the standard, revealed the absence of the female consciousness and the female consciousness in these works; and the male guide in the new period. In the end, the "dispoliticization" tendency of feminist film criticism is manifested in the fact that all the dominant discourse is male discourse, and feminism tends to shield these strong words and cause it to be with the nation. Discourse, the violent clash of revolutionary discourse; at the same time, the feminist film criticism also embodies a tendency to "degenerate" because of the belief that ethical discourse is also dominated by men.

【学位授予单位】：上海大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J905
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本文编号：1859033