90年代以来加拿大移民电影的创作研究

发布时间：2018-07-05 16:17

本文选题：加拿大移民电影 + 多元文化　；参考：《河南大学》2014年硕士论文

【摘要】：90年代以来的加拿大移民电影,主要由一批有着第三世界族裔背景的新移民青年导演所构成；他们的影像呈现主要以来自西亚、北非、拉美、东南亚等第三世界国家和地区的新移民群体为对象,再现／表现边缘“他者”面对异质语言／习俗／文化环境的生存与适应,以及对新旧身份的选择与定位,其视线旨归在于对个体身份、记忆的探讨和思考。而这一主题结构独特、光影风格鲜明的移民叙事话语,也为加拿大电影(尤其是故事片)带入全新的发展征程。由于加拿大的多元文化意识形态影响,继纪录片之后,移民电影在使移民群体获得镜像体认、舒缓阵痛的同时,也在不期然间自觉／不自觉地践行起促进多元民族文化／群体和谐凝聚、塑造国家整体感的功能,即增进交流了解、柔化差异冲突、凝集国家认同,至此成为一种导演文化自觉与国家意识形态的契合产物；从而在全球化的文化散播中,深刻区别于英、法等欧陆传统文化和美国的“大熔炉”文化,使加拿大的“马赛克”文化形式具有高度辨识性。此外,加拿大移民电影作为大众文化商品,在发展中依赖市场资本／跨国资本提供制作资金的同时,也不可避免受到资本逻辑及其意识形态的潜默影响,其间的修辞策略在资本导向的侵扰下悄然发生着流变。同时,受制于深刻的地缘政治文化影响,加拿大移民电影又最大程度地被美国好莱坞工业体系所桎梏。如果说,前期独立制片时加拿大移民电影的修辞编码与镜语状态,通常偏向零散情绪的感性表达,异域风情浓厚、符号隐喻洋溢；同时旨在为少数族裔的边缘群体代言、传声,试图在西方主导的多元文化语境中达成一种话语平衡。那么可以说,后期的加拿大移民电影则不再过分强调影像迥异的个性化风格,转而以中产阶级式的保守价值取向；即以类型化、模式化的叙事策略追求戏剧化、商业化的视听效果,更加精心于情节点的铺陈和观赏快感的心理体验,从而迎合西方／世界主流市场的审美趣味。同时,后期的移民电影往往只是借助边缘外裔的形象躯壳,将视线放宽至现代社会中的普泛性个体,关于族裔文化／身份的历史／记忆议题退而其次甚至避而不谈,取而代之是人性、心理、情欲、爱情、死亡、梦想等普适命题的主唱,从而规避种族／民族间文化差异冲突的呈现,以期获得更大范围的受众认同。在这种西方强权的话语机制和资本逻辑的逐利趋导下,关于边缘少数群体的现实诉求和历史话语,被不断重构／改写；关于肤色／移民／族裔的“他者性”叙事,反而被抽象为文化奇观符号,成为话题被大众／西方所消费,最终导致“民族性”的消匿。而在观影过程中的移民／第三世界群体,受之于民族心理想象被询唤缝合进银幕凝像的同时,却也不期然间被裹挟收编于资本消费的叙事逻辑中而不可自主发声,缄默认同的同时实则惨遭放逐。因此,本文旨在通过对90年代以来加拿大移民电影创作的发展演变研究入手,透过这面以镜像回廊结构折射加拿大／世界现实缩影的透镜,揭开虚幻表象的妖娆面纱,曝露出加拿大现实现象中种种叙事话语背后无时不在运作着的权力机制与资本逻辑,从而无限接近世界真相／本质的精神内核。
[Abstract]:Since 90s, the Canadian emigrant films are mainly composed of a group of new emigrant directors with third world ethnic backgrounds; their images are based on the new immigrants from western Asia, North Africa, Latin America, Southeast Asia and other countries and regions. The existence and adaptation of custom / cultural environment, as well as the selection and orientation of new and old identities, are aimed at the exploration and thinking of individual identity and memory. The theme of this theme is unique, and the vivid emigrant narrative discourse of light and shadow plays a new development course for Canadian films (especially stories).
As a result of the multicultural ideology of Canada, after the documentary, immigrant films, while making the immigrant group recognise and soothe the pain, also consciously / unconsciously practise the function of promoting the harmonious aggregation of multi ethnic cultures / groups and shaping the national sense of integrity, that is, to enhance communication understanding and to soften the differences. Conflict and agglutination of national identity, thus become a product of director's cultural consciousness and national ideology, which is deeply distinguished from the traditional European traditional culture and the "melting pot" culture of the United States in the cultural spread of globalization, so that the "mosaic" culture of Canada is highly identifiable.
In addition, as a popular cultural commodity, Canadian immigrant films depend on market capital / transnational capital to provide capital for production, and are inevitably influenced by capital logic and its ideology. The rhetorical strategy between Canada and Canada is quietly changing under the invasion of capital. At the same time, it is subject to profound geopolitical affairs. To control cultural influence, Canadian immigrant movies are shackled to the greatest extent by the American Hollywood industrial system.
If it is said that the rhetorical and mirror state of the Canadian immigrant films are usually biased towards the emotional expression of scattered emotions, the exotic atmosphere is strong, and the symbolic metaphor is overflowing; at the same time, it aims to make a speech balance for the marginal groups of ethnic minorities and try to achieve a kind of discourse balance in the multicultural context dominated by the West. In this case, the later Canadian immigrant films no longer overemphasize the different personalization styles of the images and turn to the conservative value of the middle class; that is, the typization, the patterned narrative strategy is dramatize, the commercialized audio-visual effect is more elaborate and the emotional experience of the feeling node is more elaborate and thus caters to the West. At the same time, the later emigrant films tend to relax to the universal individuals in modern society with the help of the image of the marginal people, and to retreat from the issues of the history / memory of ethnic culture / identity, and to take the place of human nature, psychology, love, love and death. Dream and so on, the main theme of universal proposition, so as to avoid the conflict of racial / ethnic cultural differences, so as to gain a wider audience's recognition.
Under the guidance of the western power of discourse mechanism and capital logic, the realistic appeal and historical discourse of the marginal minority groups have been restructured and rewritten. The "otherness" narrative of the skin color / immigrant / ethnic group is abstracted as a cultural wonder symbol, which is consumed by the public / the West and eventually leads to the "" In the course of the view, the immigrant / Third World Group is subjected to the national psychological imagination being summoned and sutured into the screen. But it is also uncontrollable in the narrative logic of capital consumption.
The purpose of this paper is to start with the development and evolution of the Canadian immigrant film creation since 90s, and to reveal the enchanting veil of the illusory imagery through the lens of mirrored corridors reflecting the reality of Canada / the world, revealing the power behind the narrative discourse of Canadian reality. The logic of mechanism and capital is infinitely close to the truth core of the world.
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J909.711

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