空间折射与香港意识：90年代以来许鞍华电影中的影像空间研究

发布时间：2018-06-22 23:56

本文选题：许鞍华电影 + 空间叙事　；参考：《北京大学》2013年硕士论文

【摘要】：目前,在电影叙事学理论中,有关“空间”的研究,仍然是被受忽略的一环。关注电影影像空间表现背后的观察视角和创作意念,更重要的是,能够透过探讨电影中空间与文化、社会和个体之间独立或交织的联系,完成对于自身城市形象以及文化身份的自我指涉的分析,这就是本文的研究出发点。作为香港七九电影新浪潮的旗手,许鞍华的电影一贯以写实的叙事风格透露出深刻的底层关怀,把历史、社会事件与生活琐碎进行融合。在镜头语言和叙事形式上,她善于运用大量的长镜头、“蒙太奇”、“画外音”、多视点叙事等手法,突破传统单一视点的叙事模式,并通过时间、空间交错,甚至多重时间、空间的倒置和更迭,使叙事本身成为内容。在主题建构上,许鞍华则对日常生活细节以及家庭人伦聚焦,以平实自然的方式重现被社会遗忘却深刻地反映城市变迁的边缘群体,为香港城市和民生的影像表达提供另一种可能。许鞍华电影人物的运动轨迹,恰好呈现了城市中新旧交融并存的空间。进一步而言,电影中所展现的影像空间,不仅仅是香港城市文化和历史的反映,空间从来并非空洞的能指,对于个体而言,透过影像“再现”的空间往往蕴含某种超越经济、文化的意义,更直指人的精神和生存境况。这些空间不仅是具体的,也是心灵的；同时,在大量朴实且习以为常的生活方式中,折射出香港社会底层及城市的边缘形态。不论是宏观而言的香港社会的公共空间,或是对个人化而言的家庭及人际、人伦关系的刻画和思考,许鞍华电影中的空间都承载着重要的文化阐释功能,强烈流露出香港本土意识。本文共分为三章,着意探讨许鞍华执导的《客途秋恨》(Song of The Exile,1990)、《女人四十》(Summer Snow,1994)、《千言万语》(Ordinary Heroes,1999)、《姨妈的后现代生活》(The Postmodern Life of My Aunt,2006)、《天水围的日与夜》(The Way We are,2008)、《桃姐》(A Simple Life,2012)六部影片,从空间叙事的角度研究许鞍华电影的影像空间问题,并致力于把电影叙事空间作为研究对象。首先,通过电影《客途秋恨》与《姨妈的后现代生活》的比较,集中讨论电影人物在空间漂泊中所折射的“心理时差”,探讨电影人物在不同文化、地域之间产生的疏离感和身心挣扎,以及由此形成的各异关于“家”的想象/误认的方式,剖析“家”的心灵空间内涵,并进一步指出对“原乡”和“异乡”的想象/误认的主因。其次,以电影《千言万语》和《天水围的日与夜》作为独立单元分析,以个人与历史互动的记忆为核心,从电影人物的运动轨迹所带出的香港城市空间,以及最为平凡的香港生活片段,揭示两部电影的城市空间折射出不同的“香港故事”和城市想象。并以《女人四十》与《桃姐》两部电影城市空间中的老人群像为线索,在宏观上,以电影主人公的家庭结构为对象,探讨家庭的亲缘以及非家庭超越亲缘情感的两种人际模式中,个人与家庭、传统与现代社会之间的内部关系。在微观上,以老人活动中心和老人院的叙事空间为核心,了解香港老龄化的社会问题,从而讨论人与土地、城市空间之间的关系。我们将透过这六部电影,剖析电影中的城市空间如何被建构、被呈现,并从这些不同的表达形式之中,探讨影像空间背后所展示的城市形象及边缘群体群像中所折射的香港本土意识和城市想象。
[Abstract]:At present , in the theory of film narratology , the research on " space " is still a neglected ring . It is more important to pay attention to the viewing angle and creative idea behind the film image space representation , and more importantly , it is possible to complete the analysis of the self - indexing of the city image and cultural identity through exploring the links between space and culture , society and individual in the movie , which is the starting point of this paper .

As the flag bearer of the new wave of Hong Kong ' s seven - nine film , the film has always revealed deep bottom care in a realistic narrative style . In the form of lens language and narrative , she is good at using a lot of long - lens , " Montage " , " painting outside sound " , multi - view narrative and so on . In terms of lens language and narrative form , she is good at using a lot of long - lens , " Montage " , " painting outside sound " , multi - viewpoint narration , etc .

Further , the image space presented in the film is not just the reflection of the city culture and history of Hong Kong , but the space is never empty . For the individual , the space transmitted through the image often contains some kind of transcendental economy and culture meaning , more directly the human spirit and the survival situation . These spaces are not only concrete but also spiritual ;
At the same time , in a large number of simple and accustomed ways of life , the marginal forms of Hong Kong ' s social stratum and city are reflected . In both the macro and the public space of the Hong Kong society , and the portrayal and reflection of the family and the interpersonal relationship between the individual and the person , the space in the movie of Anhua carries important cultural interpretation functions , and the local consciousness of Hong Kong is strongly exposed .

This paper is divided into three chapters : Song of The Exile , 1990 ) , Forty Years Eve ( Summer Snow , 1994 ) , " The Postmodern Life of My Friends , 2006 ) , " The Postmodern Life of My Videos , 2006 ) , " The Postmodern Life of My Videos , 2006 ) , " The Day and the Night " of Aunt Xue ( A Simple Life , 2012 ) . From the perspective of space narrative , we study the image space of the movie , and commit ourselves to the use of the movie narrative space as the object of research .

Firstly , through the comparison of the late autumn and autumn hatred of the movie characters and the post - modern life of Aunt Xue , the author focuses on the psychological moveout of the film characters in the space drift , discusses the alienation feeling and physical and psychological struggle between the film characters and the different cultures and regions , and analyzes the connotation of the spiritual space of the " home " , and further points out the main cause of the imagination / misunderstanding of the " native " and " exotic " .

On the macro level , the relationship between man and family , traditional and modern society is discussed , and the relationship between man and land and urban space is discussed .

Through these six films , we will analyze how urban space in the film is constructed and presented , and from these different forms of expression , explore the urban image behind the image space and the local consciousness and urban imagination reflected in the group image of marginalized groups .
【学位授予单位】：北京大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905

【参考文献】