岩井俊二电影的后现代景观

发布时间：2018-08-25 14:35

【摘要】：20世纪60年代出生的日本电影导演岩井俊二从一出生起,就生活在后殖民社会语境之中,日本在这一时期步入后工业社会,亦令岩井俊二获得了打量女性人生的后现代眼光,这种眼光在他的电影中最终演变成一幅幅后现代景观,本文主要从"杂语"、"双性同体的女性呈现"两个方面来给予讨论。"杂语",曾被俄国思想家巴赫金用以指称在一个人聚居的区域里,语言、文化和阶级彼此交融,中心被消解的社区文化理想景观,这样的景观因其所具有的解中心、认可碎片,张扬多元文化等属性,在今天的文化语境里,可以直接定位为一种典型的后现代景观。"双性同体"乃是作为后现代文化之重要内容的女性主义特别地给予关注的社会现象,它涉及到女性在后代社会的身份认同这一重大问题。岩井俊二执导的电影从这两个方面切入女性主义的叙事,艺术地营构了他的电影中的后现代景观。岩井俊二借此深刻地表达了他对日本或东亚地区女性之后现代处境与命运的关怀与同情。
[Abstract]:Japanese film director Junji Ishii, born in the 1960s, has lived in a post-colonial social context since he was born. In this period, Japan stepped into a post-industrial society, which also enabled him to gain a post-modern view of women's lives. This vision has evolved into a post-modern landscape in his films, which is mainly discussed in terms of "mixed language" and "the presence of women in both sexes." The mixed language ", which was used by the Russian thinker Bakhtin to refer to the ideal landscape of community culture in which languages, cultures and classes intermingle with each other in an area where people live together, such landscapes are recognized as fragments by virtue of their resolution centers. In today's cultural context, such attributes as publicity of multiculturalism can be directly positioned as a typical post-modern landscape. " As an important content of postmodern culture, feminism pays special attention to the social phenomenon of androgyny, which involves the important issue of women's identity in future generations. The film directed by Junji Ishii cuts into feminist narration from these two aspects and artistically constructs the postmodern landscape in his film. Through this, Ishii expresses his concern and sympathy for the post-modern situation and fate of women in Japan or East Asia.
【作者单位】：四川师范大学影视与传媒学院;
【分类号】：J905

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