父亲的面具:《千里走单骑》的文化底蕴

发布时间：2019-04-08 16:22

【摘要】：张艺谋的电影基本上在两个向度上进行思考与探索:一是起源于女阴文化崇拜、以土地为意象的女性文化传统向度;一是起源于男根文化崇拜、以"祖(且)"为意象的男性文化传统向度。张艺谋电影依此两个向度形成了其影像母题的前后两个时期:前期主要侧重于对女性的关注,具体表现为对女儿性与母性的讴歌、赞美,对妻性的否定与怀疑以及由此带来的妻性的缺席;后期主要表现为对男性的关注,具体表现为男儿性的悬置,对父性的否定、质疑与对夫性的怀疑,在深层文化观念上,表现出以先祖敬仰为特征的男根崇拜。这两个不同的向度或视阈,在张艺谋《千里走单骑》的影像层面不断延续,并通过如下几个维度得以呈现:通过先祖崇拜及父亲的正面形象塑造,发现中国传统文化的价值内核;通过云南地方戏曲傩戏及其面具的展示寻求到了中国社会民俗文化的外在表征;通过独具匠心的画面摄影展现了现代技术文化的特殊语境;通过与日本演员及主创人员的全面合作,将中国文化的个案放入整个东方文化的视野进行观照。这几个方面在《千里走单骑》中又一次交合际会,不仅体现张艺谋艺术理念、审美视阈、技术思考、个人记忆的强势回归,也标志着张艺谋电影由外爆、外放、外散向内缩、内敛、内忍的转型。
[Abstract]:Zhang Yimou's film basically carries on the ponder and the exploration in two dimensions: the first is originated from the vulva culture worship, takes the land as the image female culture tradition dimension; One is originated from the male root culture worship, taking the ancestor (and) as the image of the male cultural tradition. According to these two dimensions, Zhang Yimou film formed two periods before and after its image motif: the early stage mainly focused on the attention of women, specifically manifested in the eulogizing and praising of the daughter's sex and motherhood. The negation and suspicion of wife's sex and the absenteeism of wife's sex caused by it; In the later period, it mainly shows the attention to the male, the specific performance is the male sex suspension, the negation to the paternity, the doubt and the suspicion to the husband sex, in the deep culture idea, shows the male root worship which is characterized by the respect of the ancestor. These two different dimensions or thresholds continue in the image level of Zhang Yimou, and can be presented through the following dimensions: through the worship of the ancestors and the positive image of the father, the image level of Zhang Yimou has been continuously extended and presented through the following dimensions: the worship of the ancestor and the positive image of the father. Discover the value core of Chinese traditional culture; Through the display of Yunnan local opera Nuo opera and its mask, the external representation of Chinese folk culture is sought, and the special context of modern technology culture is displayed by unique picture photography. Through all-round cooperation with Japanese actors and creators, the case of Chinese culture is taken into consideration in the view of the whole oriental culture. These aspects have once again met in the "thousand miles alone ride" meeting, not only reflecting Zhang Yimou's artistic concept, aesthetic vision, technical thinking, and the strong return of personal memory, but also marked the Zhang Yimou film from exuberant, external, external scattered to inward contraction. Introverted, congenial transformation.
【作者单位】：上海大学上海电影学院;
【基金】：上海大学戏剧与影视学高峰学科项目资助(2016)
【分类号】：J905

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