异质空间与90年代以来中国“独立电影”的话语建构

发布时间：2018-07-15 22:45

【摘要】：20世纪80年代末90年代初,当“文化热”逐渐冷却,市场经济开始大规模袭来时,出现的一种新型电影创作型态——中国独立电影。中国独立电影更多指向一种体制外创作,无论隶属关系还是作品风格都与商业保持着距离。独立电影人不再像“第五代”在历史沟壑处对传统进行挖掘反思,也不再对社会现实进行美化或温和展现,而是心系中国当下社会语境和市场文化氛围,试图通过影像勾画中国现代化进程中普通人和边缘人物的生存状态。他们更多地从边缘、异质、焦虑、冲突层面,去刻画弱势群体的境遇,把中国现代化的转型过程拍摄成一个精神、思想和文化的历程,由此造就了独立电影的“异质性”。“异质”相对于“常态”和“日常”而言,是被规训划一的社会环境。异质空间指的是那些似乎与日常生活空间相悖的镜像、记忆、禁忌以及种种偏离日常生活的行为环境,但它不是孤立存在的,它与日常生活空间并存,是不自觉地嵌入日常生活空间的一部分,可以说是日常生活空间的一种裂变,一种被忽视的境遇。相对于全球化的整体语境来说,整个中国的影像表达是异质的,而在中国的导演圈子中,独立电影的影像构建是异质的——因为独立电影导演的灵感不再建立在“一代人思辨的激情”之上,而是游荡在各个场所的边缘处,勇敢地打开那一座座生机勃勃的“异托邦”的仓库。在具体的影像呈现中,独立电影的影像叙事表达显然也带有很强的异质性,正是基于表达内容的异质性和反叛性,才构成了整部影像的特殊性和异质性,才进而使得独立电影导演在整个导演群体中具有突出性。具体来说,独立电影中的“异质空间”表达主要集中于人物的选择和空间地点的选择上,这些人物“离经叛道”,是不被主流社会关注和接纳的人物,空间地点不同于“异质空间”这个宽泛的范围,在现实社会生活中,它是有具体所指的,但是却是一些丑陋、残破和昏暗的地点,来促成整个影像能指的构成。独立电影在呈现生活的本真面貌,传达出影像的真实性特征时,并通过异质声音、异质画面、异质生存状态、对传统秩序进行颠覆来进行自身话语权的建构。但是,新世纪以来,消费主义和犬儒主义不断膨胀,社会的思考行为逐步减少,加上独立电影自身影像的沉重乏味,使得观众十分稀少,进而导致独立电影的话语建构十分艰难。独立的精神是对习以为常的规范的逃离,对主导话语严密网络的总体拒绝,对自我个体独特性的维护,也就是在当代中国话语领域拓展新的空间。面对欲望和话语暴力,独立电影导演应该坚守自我独立意识,在理性主义坍塌的“后乌托邦”时代追问总体生命的价值归依何处,坚守“作者电影”之于当代中国的现代性立场,继续运用“无名”的个人影像叙事展开对都市时代精神的多元体认。
[Abstract]:In the late 1980s and early 1990s, when the "culture fever" gradually cooled and the market economy began to hit on a large scale, a new type of film creation-independent Chinese film-emerged. Chinese independent films tend to be outside the system of creation, both in terms of affiliation and style, at a distance from business. Independent filmmakers no longer dig and reflect on tradition in the historical gullies like the "fifth generation", nor do they beautify or gently show the social reality, but rather focus on the current social context and market culture atmosphere in China. This paper attempts to outline the living conditions of ordinary people and marginal characters in the process of China's modernization through images. They depict the situation of the disadvantaged groups from the aspects of margin, heterogeneity, anxiety and conflict, and film the process of Chinese modernization as a process of spirit, thought and culture, thus creating the "heterogeneity" of independent films. Heterogeneity is the standard social environment relative to normal and daily. Heterogeneous spaces refer to mirrored images, memories, taboos, and behavioral environments that seem to contradict everyday living spaces, but they do not exist in isolation, they coexist with everyday living spaces. It is an unconsciously embedded part of the daily life space, which can be said to be a fission of the daily life space, a neglected situation. In contrast to the overall context of globalization, the image expression of the whole of China is heterogeneous, and in the circle of directors in China, The image construction of independent films is heterogeneous-because independent film directors' inspiration is no longer based on "a generation of speculative passion," but loitering on the fringes of every place. Bravely open the dynamic "heterotopia" warehouse. In the concrete image presentation, the image narrative expression of the independent film obviously also has the very strong heterogeneity, just based on the heterogeneity and rebellion of the expression content, it constitutes the particularity and heterogeneity of the whole image. So that independent film directors in the entire group of directors have prominent. Specifically, the expression of "heterogeneous space" in independent films mainly focuses on the choice of characters and the choice of space location. These characters are "deviant" characters who are not concerned and accepted by the mainstream society. The spatial location is different from the wide range of "heterogeneous space". In real society, it has a specific meaning, but it is some ugly, dilapidated and dim place, to promote the formation of the image signifier. When the independent film presents the true face of life and conveys the authentic features of the image, it constructs its own right of speech through heterogeneous sound, heterogeneous picture, heterogeneous living state and subversion of the traditional order. However, since the new century, consumerism and cynicism have been expanding, the social thinking behavior has been gradually reduced, and the heavy boredom of independent films' own images has made the audience very scarce. Therefore, the construction of independent film discourse is very difficult. The spirit of independence is the escape of the norm which is accustomed to, the overall rejection of the tight network of dominant discourse, and the maintenance of the uniqueness of the individual, that is, the expansion of new space in the field of contemporary Chinese discourse. In the face of desire and verbal violence, independent film directors should stick to their sense of self-independence, and in the post-utopian era of rationalism, they should ask where the value of the whole life is. Adhering to the modernity standpoint of "author's film" in contemporary China, and continuing to use the "nameless" personal image narrative to develop a pluralistic understanding of the spirit of the urban age.
【学位授予单位】：华侨大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J909.2

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