本文選題：去政治化 + 政治��； 參考：《上海大學(xué)》2016年博士論文

【摘要】：當(dāng)代中國(guó)電影批評(píng)思潮中的政治性根源于詹姆遜所謂中國(guó)電影作為“第三世界”文本的政治性,也與電影批評(píng)家所具有的“第三世界”知識(shí)分子身份相關(guān)。同時(shí),這種政治性又必須要被納入90年代以來(lái)的“去政治化”語(yǔ)境中來(lái)考量。作為90年代以來(lái)中國(guó)思想文化領(lǐng)域中的重要傾向,“去政治化”和“政治”并不是一種相互取消的關(guān)系,相反,“去政治化”本身是一種新的政治在當(dāng)代思想文化中的表現(xiàn)。當(dāng)代中國(guó)思想文化領(lǐng)域里“去政治化”可分為“去社會(huì)主義政治”和“去傳統(tǒng)政治”兩個(gè)層次,前者可細(xì)分為“去階級(jí)論”、“去革命化”、“去民族主義”等不同方向,后者則可分為“去民族傳統(tǒng)”、“去道德化”等不同方向。這些不同方面既體現(xiàn)出“去政治化”的傾向,也透露出“政治化”的訴求。90年代以來(lái)盛行的多種中國(guó)電影批評(píng)思潮都體現(xiàn)出這種雙重面向。這種雙重面向體現(xiàn)出了“去政治化”的辯證法,它要求我們放棄對(duì)這一概念的單向度理解�！艾F(xiàn)代性”批評(píng)思潮關(guān)注現(xiàn)代性主體的建構(gòu),并參與90年代以來(lái)中國(guó)電影中現(xiàn)代性空間建構(gòu)的討論;通過(guò)對(duì)謝晉電影、“第五代”、“第六代”影片的批評(píng),將關(guān)注的重心引向文化傳統(tǒng)的批判以及國(guó)民性批判;這一批評(píng)思潮對(duì)民族主義的反思也成為新世紀(jì)電影批評(píng)討論的熱點(diǎn);隨著新世紀(jì)一批人道主義電影杰作的出現(xiàn),“現(xiàn)代性”批評(píng)通過(guò)闡發(fā)這些電影中的人道主義理念,展開對(duì)之前過(guò)于政治化的“階級(jí)論”、“英雄主義”價(jià)值觀以及和人道主義相抵觸的傳統(tǒng)價(jià)值觀的反思。從“現(xiàn)代性”電影批評(píng)思潮關(guān)注的這些話題中,可以看出“去政治化”和“政治性”雙重面向的辯證統(tǒng)一。后殖民電影批評(píng)重點(diǎn)以“第五代”電影為批評(píng)對(duì)象,這一批評(píng)有效揭開了“第五代”電影的跨文化運(yùn)作模式與策略,指認(rèn)出這些電影遵循的“自我東方化”書寫套路,迫使“第五代”不得不放棄他們諳熟的模式而選擇改弦更張,一定程度影響了中國(guó)電影發(fā)展的方向,對(duì)80年代以來(lái)社會(huì)文化思潮中盛行的西方中心觀念也起到消解作用。但這一批評(píng)思潮在今天流露出一種令人不安的趨勢(shì),即極度的去國(guó)族中心,在一些批評(píng)家那里成為批評(píng)“中國(guó)中心論”,拆解中國(guó)主流文化和少數(shù)族裔、邊緣群體之間“壓迫性”關(guān)系的方式。后革命電影批評(píng)以其“去革命”傾向順應(yīng)了90年代以來(lái)的“去政治化”潮流,這一批評(píng)思潮在當(dāng)代電影批評(píng)中的實(shí)踐分為幾個(gè)方面,一是對(duì)早期革命電影的重新解讀,對(duì)左翼電影的解讀,傾向于消解其中的革命性,將其還原為大眾文化性質(zhì)的文本;或者運(yùn)用精神分析方法,呈現(xiàn)革命敘事背后隱藏的欲望向度;對(duì)“17年”革命電影的解讀則致力于挖掘革命敘事中的反人性特質(zhì),或者揭露其意識(shí)形態(tài)構(gòu)造的秘密。二是分析后革命時(shí)代對(duì)革命敘事的戲仿重構(gòu)及逆革命敘事的書寫方式。第三則體現(xiàn)為對(duì)新的革命敘事或類革命敘事的尋找,在此過(guò)程中不惜對(duì)許多文本做泛政治化的解讀。作為補(bǔ)充,本章最后部分則關(guān)注新世紀(jì)出現(xiàn)的革命敘事影片所引發(fā)的批評(píng)界的分化以及對(duì)這些影片的對(duì)立性闡釋。對(duì)意識(shí)形態(tài)批評(píng)思潮的分析集中于三個(gè)重點(diǎn),一是它對(duì)主旋律電影的批評(píng),二是對(duì)身體和欲望的關(guān)注,以揭示當(dāng)代電影對(duì)欲望的鉗制和對(duì)身體的意識(shí)形態(tài)規(guī)訓(xùn),三是對(duì)倫理與政治關(guān)系的關(guān)注,以汪暉對(duì)謝晉電影倫理和政治的置換的考察為典型。在此基礎(chǔ)上對(duì)這一批評(píng)思潮本身的批評(píng),包括對(duì)意識(shí)形態(tài)批評(píng)包含的“去國(guó)族化”傾向和反體制追求的呈現(xiàn),以及對(duì)“泛意識(shí)形態(tài)化”后果的分析。意識(shí)形態(tài)批評(píng)傾向于將道德解讀為意識(shí)形態(tài)詢喚的結(jié)果,其后果勢(shì)必要走向“去道德化”。90年代以來(lái)的女性主義電影批評(píng)對(duì)如下幾個(gè)選題都有密集的關(guān)注:對(duì)“17年”電影的再解讀,從女性主義的角度關(guān)注這些電影中的女性表現(xiàn),從而對(duì)新中國(guó)建國(guó)初期的女性解放成果進(jìn)行重新評(píng)價(jià);對(duì)女性導(dǎo)演及其作品的關(guān)注,女性主義批評(píng)以是否具有“女性意識(shí)”為標(biāo)準(zhǔn),對(duì)這些作品中“女性的不可見(jiàn)”,女性意識(shí)的缺席進(jìn)行揭示;對(duì)新時(shí)期男性導(dǎo)演的女性題材的批評(píng),指出這些作品隱藏于其女性主義表象下的男權(quán)幽靈。最后,女性主義電影批評(píng)的“去政治化”傾向表現(xiàn)在,由于認(rèn)為一切占主導(dǎo)地位的話語(yǔ)都是男性話語(yǔ),女性主義傾向于將這些強(qiáng)勢(shì)話語(yǔ)都屏蔽掉,導(dǎo)致它與國(guó)族話語(yǔ)、革命話語(yǔ)的激烈沖突;同時(shí),由于認(rèn)為倫理話語(yǔ)也是被男性主導(dǎo)的話語(yǔ),女性主義電影批評(píng)也體現(xiàn)出一種“去倫理化”傾向。
[Abstract]:The political nature of contemporary Chinese film criticism is the political nature of Jameson's so-called "third world" text, which is also related to the "third world" intellectual identity of the film critics. At the same time, this political nature must be taken into consideration in the "de politicization" context since 90s. As an important tendency in China's ideological and cultural field since 90s, "to politicize" and "politics" is not a mutual cancellation relationship. On the contrary, "de politicization" itself is a kind of new political expression in contemporary ideology and culture. "De politicization" in the field of contemporary Chinese ideological and cultural can be divided into "to socialism". The former can be divided into two levels of "politics" and "go to the traditional politics". The former can be divided into different directions, such as "going to class theory", "to revolutionize" and "to nationalism". The latter can be divided into different directions, such as "go to the national tradition" and "go to morality". These different aspects not only reflect the tendency of "Depoliticization", but also reveal "politicization". This dual orientation embodies the dialectics of "de politicization", which requires us to give up the unidirectional understanding of this concept. "Modernity" of criticism is concerned with the construction of the subject of modernity and participated in China since the 90s, and participated in China since the 90s. The discussion of the modern space construction in the film; through the criticism of Xie Jin film, the "fifth generation" and "sixth generation" film, the focus of attention will be focused on the criticism of cultural tradition and criticism of national nature; the reflection on nationalism of this trend of criticism has also become a hot spot in the review and discussion of the new century, with a lot of humanism in the new century. The emergence of the film masterpiece, "Modernity" criticism, through the elucidation of the humanitarianism in these films, launches the reflection on the "class theory", "heroism" values and the traditional values that are incompatible with humanitarianism, which are too politicized before. "To politicize" and "political" dual oriented dialectical unity. Post colonial film criticism focuses on the "fifth generation" film. This criticism has effectively uncovered the cross cultural operation mode and strategy of the "fifth generation" films, and identified the "self Orientalism" writing routines followed by these films, forcing the "Fifth generation". We have to give up their familiar pattern and choose to change to a certain extent, which has influenced the direction of the development of Chinese films to a certain extent. It also dissolves the western central concept prevailing in the social and cultural trend of thought since 80s. The critics have been criticizing the "central theory of China" to dismantle the "oppressive" relationship between the Chinese mainstream culture and the minority and the marginal groups. The post revolutionary film criticism, with its tendency to "go to the revolution", conforms to the trend of "dispoliticization" since the 90s, which has been divided into several practices in the contemporary film criticism. One is to reinterpret the early revolutionary films, to interpret the left-wing films, to dissolve the revolutionaries, to restore it to the text of the mass cultural nature, or to use the psychoanalytic method to present the desire of the revolutionary narrative, and to unscramble the revolutionary narration of the "17 years" revolutionary film. The characteristics of the anti human nature in it, or the secret of its ideological structure. Two is the analysis of the parody of the revolutionary narrative in the post revolutionary era and the writing mode of the counter revolutionary narrative. The third is the search for the new revolutionary narrative or the kind of revolutionary narration. In this process, it does not hesitate to make a pan politicized interpretation of the many texts. The last part of this chapter focuses on the differentiation of the critical circles in the revolutionary narrative films in the new century and the interpretation of these films. The analysis of ideological criticism focuses on three points, one is its criticism of the main theme film, and the two is the attention to the body and desire to reveal the forceps of the contemporary movie to desire. The system and the ideological discipline of the body, three is the concern of the relationship between ethics and politics, and Wang Hui's investigation of Xie Jin's film ethics and political replacement is typical. On this basis, the criticism of this criticism, including the "nationalization of the nation" and the pursuit of anti institutional pursuit of ideological criticism, as well as the "pan". Ideological criticism is an analysis of the consequences of ideology. Ideological criticism tends to interpret morality as the result of ideological call, and the subsequent trend of feminist film criticism since the "demoralized".90 era has concentrated on the following topics: Reinterpreting the "17 years" of electricity and paying attention to the feminist perspective The female expression in these films reappraised the achievements of the women's Liberation in the early days of the new China; the attention to the female directors and their works, the feminist criticism, with the "feminine consciousness" as the standard, revealed the absence of the female consciousness and the female consciousness in these works; and the male guide in the new period. In the end, the "dispoliticization" tendency of feminist film criticism is manifested in the fact that all the dominant discourse is male discourse, and feminism tends to shield these strong words and cause it to be with the nation. Discourse, the violent clash of revolutionary discourse; at the same time, the feminist film criticism also embodies a tendency to "degenerate" because of the belief that ethical discourse is also dominated by men.

【學(xué)位授予單位】：上海大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：J905
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本文編號(hào)：1859033