论王家卫电影的后现代性

发布时间：2018-04-30 05:33

本文选题：王家卫电影 + 后现代性　；参考：《辽宁大学》2013年硕士论文

【摘要】：本文以王家卫迄今为止创作的十又三分之一部电影为主要对象，试图对王家卫的电影作品作一次整体性梳理和研究。本文首先考察王家卫电影的创作背景，其次在后现代主义理论框架下分析王家卫电影的后现代主题、后现代叙事、技法应用及其商业性，力求把电影本体研究和文化研究结合起来。由于香港特殊的身份地位，香港的文化多元共存兼容并蓄。90年代的香港电影虽由于多种原因较为低迷，香港电影人依旧在各种挑战中创作出了一批较高质量的作品。随着现代西方社会的科技和经济在20世纪下半叶的迅猛发展，，后现代主义逐步演变成为一种世界性的文化思潮并渗透到大众的日常生活、价值观念和思维模式之中。虽然这些作品大多不是完整意义上的后现代主义电影，但部分电影已经具有后现代的诸多特征和因素，王家卫的电影作品就是其中的典范。50年代末至60年代初的法国电影新浪潮运动也对香港电影及王家卫产生了深刻的影响，王家卫继承并发展了法国新浪潮电影中的某些思想、手法和特色。王家卫的电影充分表现了后现代人主体的消失及其生存、情感状态。“在后现代主义里的‘耗尽’里，”①主体“充分地零散化，解体了”②，“已经没有一个自我的存在了。”③王家卫电影中的人物刻意忽略姓名和家庭社会关系，共有着边缘性、流动性、不安定的特点以及孤独、焦虑、偏执等心灵特质，王家卫以可以任意替换、极具象征意味的符号式人物将现代人的生存状态与心理特征放大，让我们看到了后现代人在失去自我后的荒谬和偏执自闭。他们因“理解的不可能性，真理的不可能性，沟通的不可能性”④而相互疏离、隔绝，变得擅长拒绝，只能在孤独里游荡，在“后现代游戏式的生活”⑤中“寻求非具体的目标”⑥，等待命运的审判。后现代人将情感冰封于自己坚硬的外壳之下，表露在外的只是随意漂浮、非个人化的情感。虽然王家卫利用特别的情节和细节挖掘出后现代人隐藏在平静之下真实、细腻的感情。影片展现的依旧是人与人之间的孤独和难以接近，后现代人只能在无常人生中抒写自己的落寞情怀。王家卫在其电影中以凝固的时间符号和零散化了的空间碎片的拼贴和结构的分裂展现了其独具魅力的后现代叙事风格。王家卫的电影打破了以往的时空结构模式，将时间的碎片按照影片表现的需要随意拼贴，以个人当下非历史的时间来代替现实的、社会的时间，书写了后现代人日常生活中所感受的体验时间。王家卫在影片中使用经过切割重组的毫无整体感与安定感的空间构造了寓言式的后现代空间，隐喻了当代都市人那令人窒息和绝望的隔膜。王家卫电影中的人物语言和画外音独白契合后现代语言隐喻、不确定、游戏的特征，展现了后现代人的生活方式和封闭的、不能交流的孤独个体状态，同时运用叙述人的反复变换呈现出零散化和碎片化的状态。在“商品化的逻辑已经影响到人们的思维”①的后现代，王家卫以其富于探索精神的技法运用将影片制作得适合大众的口味。王家卫以独特的镜头运用传达出后现代人物的生存和情感状态，提示情节、营造气氛的同时也给观众带来了美的享受。王家卫的电影还重视色彩的造型和表意功能，用色彩表现人物的情感命运和心理情绪。王家卫利用强烈陈述意义的音乐填补影片的叙事空白，同时利用音乐牵动观众的情感思绪。商品是王家卫电影作品的本质。王家卫对于艺术品与商品二重性在电影作品中的统一有着清醒的认识，他深谙热销商品的特征，每部影片都使用了强大的明星阵容和对类型片模式的戏仿，并熟练地使用了许多大众喜爱的元素，以使自己的影片卖座。
[Abstract]:This article, taking the ten and one third films created by Wong Kar Wai so far as the main object, tries to make a holistic study of Wong Kar Wai's films. This article first examines the creation background of Wong Kar Wai's films, and then analyzes the postmodern themes of Wong Kar Wai films, post-modern narration and techniques under the framework of postmodernism. Application and commercially, strive to combine film ontology research with cultural research.
Because of the special status of Hongkong, Hongkong's cultural diversity and coexistence of.90 years, Hongkong films are still in a variety of low reasons, Hongkong film people still create a lot of high quality works in various challenges. With the rapid development of the modern western society in the second half of the twentieth Century, the Post-modernism of the modern western society. It has gradually evolved into a world cultural trend of thought and penetrated into the daily life of the masses, values and modes of thinking. Although most of these works are not the complete postmodernism films, some of the films have many characteristics and factors of postmodernism, and Wong Kar Wai's film works are the models. The new wave movement of French film from the end of 50s to the early 60s also had a profound influence on the Hongkong film and Wong Kar Wai. Wong Kar Wai inherited and developed some ideas, techniques and features in the new French wave film.
Wong Kar Wai's film fully shows the disappearance of the main body of the postmodern people and their existence and emotional state. "In the" Exhaustion "in the post modernism," the subject "is fully scattered and disintegrated." there is no one self existence. "(3) the characters in the Wong Kar Wai film deliberately ignore the name and family social relations, altogether there are With the characteristics of borderness, fluidity, instability, loneliness, anxiety, and paranoia, Wong Kar Wai can be replaced by arbitrary, symbolic characters that magnify the existence and psychological characteristics of modern people, and let us see the absurdity and bigotry of the postmodern people who have lost themselves. They are "incapable of understanding". The ability, the impossibility of truth, the impossibility of communication, estranged from each other, separated from each other, being cut off, becoming good at refusing, wandering only in loneliness, "seeking non specific goals" in the "life of postmodern Games", waiting for the trial of fate. It is a free floating, unpersonalized emotion. Although Wong Kar Wai uses special plots and details to dig out the true and delicate feelings hidden behind the calm of the postmodern people, the film is still lonely and unapproachable between people and people, and the post modern people can only express their lonely feelings in the impermanence of life.
Wong Kar Wai shows his unique style of postmodern narrative in his films, with the solidified time symbols, the piecemeal collage of fragmented space debris and the fragmentation of the structure. Wong Kar Wai's films break the pattern of the previous space-time structure, put the fragments of time in accordance with the needs of the performance of the film, and take the individual at the moment of non history. In place of reality, the social time has written the experience time of the daily life of the postmodern people. Wong Kar Wai used the cut and reorganized space of unintegrity and stability to construct an allegorical postmodern space, which metaphores the suffocation and despair of contemporary urbanites.
The characters of the characters in Wong Kar Wai's films and the monologue of the outside of the picture are compatible with the modern language metaphor, uncertainty, and the characteristics of the game. It shows the life style of the postmodern people and the closed, incapable individual state of the individual, and presents the fragmentary and fragmentary state by the repeated transformation of the narrator.
In the post modernism of "the logic of commercialization that has influenced people's thinking", Wong Kar Wai made the film suitable for the taste of the masses with its exploration of the technique of exploration. Wong Kar Wai conveys the existence and emotional state of the postmodern characters with a unique lens, which brings to the audience the plot and the atmosphere. Wong Kar Wai's movie also pays attention to the shape and expressive function of color, displays the emotional fate and psychological emotion of the characters with color. Wong Kar Wai fills the blanks of the film by using the music that is strongly stated, while making use of music to affect the emotional thoughts of the audience.
The commodity is the essence of Wong Kar Wai's film. Wong Kar Wai has a clear understanding of the unity of the duality of art and goods in the film works. He is well versed in the characteristics of the hot selling goods. Each film uses a powerful star lineup and a parody of the type pattern, and has used many popular elements in order to make himself. The film is sold.

【学位授予单位】：辽宁大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905

【参考文献】