本文選題：華語(yǔ)電影 + 美國(guó)夢(mèng)�。� 參考：《山西師范大學(xué)》2014年碩士論文

【摘要】：作為當(dāng)今世界的兩個(gè)大國(guó)，中國(guó)和美國(guó)一直是互為鏡像的，進(jìn)入20世紀(jì)90年代以后更是如此。在美國(guó)好萊塢電影中，中國(guó)常常以落后、專(zhuān)制、猥瑣的形象出現(xiàn)，從而淪為美國(guó)確證自我強(qiáng)大和民主的“他者”。同樣，在華語(yǔ)電影中，美國(guó)也一直是一面鏡子，如何呈現(xiàn)和講述美國(guó)，反映出的其實(shí)是我們的自我認(rèn)知和定位。但遺憾的是，當(dāng)前國(guó)內(nèi)學(xué)界對(duì)美國(guó)電影中的中國(guó)形象的研究非常多，相反角度的研究，即對(duì)華語(yǔ)電影中的美國(guó)形象的研究卻并不多見(jiàn)，這不能不說(shuō)是一個(gè)很大的缺憾。從20世紀(jì)90年代到今天，從《北京人在紐約》到《北京遇上西雅圖》，華語(yǔ)影視作品中的美國(guó)形象經(jīng)歷了幾次重要的變化，通過(guò)具體的影片分析，將這種變化梳理出來(lái)將是一項(xiàng)十分有意義的工作。 我們發(fā)現(xiàn)，在表現(xiàn)剛剛進(jìn)入美國(guó)社會(huì)的華人生活時(shí)，華語(yǔ)電影各有不同的側(cè)重：有的側(cè)重于表現(xiàn)融入的艱難——為了在美國(guó)社會(huì)站穩(wěn)腳跟，主人公需要付出沉重的代價(jià)。在這些電影中，美國(guó)社會(huì)是一個(gè)陌生而異質(zhì)的存在，只要中國(guó)人慢慢掌握了它的游戲規(guī)則，同樣可以獲得成功，盡管這可能要付出不菲的代價(jià)。而另一些則側(cè)重于表現(xiàn)中國(guó)和美國(guó)之間的沖突，這種沖突在很多時(shí)候都是通過(guò)身體對(duì)抗的形式展現(xiàn)出來(lái)的，如成龍和李連杰的電影。在這些電影中，美國(guó)人的形象是傲慢而笨拙的，中國(guó)人總是能夠憑借自己的正直和智慧將他們打倒在地，同時(shí)也將他們的偏見(jiàn)擊得粉碎。此外，還有一類(lèi)電影是以愛(ài)情為主題的，它們探究的是，當(dāng)中國(guó)人來(lái)到陌生的美國(guó)社會(huì)后，他們的愛(ài)情是否還能經(jīng)受住考驗(yàn)？在這里，我們看到海外導(dǎo)演和大陸導(dǎo)演給出了不同的答案。 隨著時(shí)間的流逝，一些華人移民通過(guò)艱難的打拼，逐漸在美國(guó)站穩(wěn)了腳跟，躋身于美國(guó)社會(huì)的中產(chǎn)階級(jí)，實(shí)現(xiàn)了自己的“美國(guó)夢(mèng)”。但此時(shí)，他們依然沒(méi)有能夠徹底融入美國(guó)社會(huì)，造成這種困境的主要原因變成了深層的文化差異。于是，很多電影開(kāi)始了更加深入的思考。父親角色成了中國(guó)傳統(tǒng)文化的象征，在父親到來(lái)之前，他們的過(guò)去仿佛已經(jīng)沉沉睡去，幾乎沒(méi)有干擾他們平靜的生活。而父親的到來(lái)，使這一切都發(fā)生了改變，他們身上沉睡的過(guò)往蘇醒了。于是，一方面是已經(jīng)完全西化的自己，另一方面是對(duì)于自己傳統(tǒng)文化的記憶和遵從，他們的自我徹底分裂了。這種自我內(nèi)部的矛盾與不同家庭成員之間的沖突是同時(shí)并存的，它們共同打破了美國(guó)中產(chǎn)華人平靜的生活，使夾在中間的主人公左右為難，焦頭爛額，很多人甚至開(kāi)始懷疑起自己當(dāng)初的“美國(guó)夢(mèng)”來(lái)。 隨著中國(guó)經(jīng)濟(jì)實(shí)力的增強(qiáng)和國(guó)際地位的提高，中國(guó)和美國(guó)之間的力量對(duì)比發(fā)生了很大的改變，這種改變?cè)陔娪爸幸灿兴@影。在《中國(guó)合伙人》中，美國(guó)就像一個(gè)沒(méi)落的貴族，雖然表面上依然十分強(qiáng)大和傲慢，但其實(shí)已經(jīng)失去了往日的實(shí)力，不得不在中國(guó)咄咄逼人的進(jìn)攻之下節(jié)節(jié)敗退。而在《北京遇上西雅圖》中，中國(guó)則被呈現(xiàn)為一個(gè)遍地黃金的權(quán)貴世界，與之相反，美國(guó)社會(huì)卻是寧?kù)o而恬淡的，是中產(chǎn)階級(jí)生活的樂(lè)土。如果說(shuō)在90年代，很多人去美國(guó)是為了尋找機(jī)會(huì)以實(shí)現(xiàn)自己出人頭地的夢(mèng)想，為此，他們不得不放棄安逸的生活；那么新世紀(jì)以來(lái)，很多人出國(guó)的目的則完全發(fā)生了逆轉(zhuǎn)，《北京遇上西雅圖》想要表達(dá)的是，這種安逸的中產(chǎn)階級(jí)生活在中國(guó)已變得不再可能，它只有在美國(guó)才能實(shí)現(xiàn)。由此，在華語(yǔ)電影中，美國(guó)形象變得復(fù)雜多面起來(lái)。美國(guó)形象之所以變得如此多樣、眾說(shuō)紛紜，，是由當(dāng)前中國(guó)意識(shí)形態(tài)力量、商業(yè)力量等共同作用的結(jié)果。
[Abstract]:As the two big country in the world today, China and the United States have always been mirrored, and even more so after 1990s. In the Hollywood films of the United States, China often appears as a backwardness, autocratic and indecent image, thus becoming the "other" of the United States to confirm its strong and democratic self. A mirror, how to present and tell the United States, reflects our self cognition and localization. But unfortunately, there is a lot of research on the Chinese image in American films at present. The research on the opposite angle, that is, the study of the American image in the Chinese film is not much, which is a big lack. From 1990s to today, from the "Beijing people" in New York to the "Seattle" in Beijing, the American image of the Chinese film and television has undergone several important changes. It will be a very meaningful work to sort out the changes through specific film analysis.
We have found that Chinese films have different emphasis on the performance of Chinese films that have just entered the American society. Some focus on the difficulty of being integrated into the American society. In order to gain a steady foothold in American society, the protagonist needs to pay a heavy price. In these films, American society is a strange and heterogeneous existence, as long as the Chinese are slow. The slow mastery of its game rules can also be successful, although it may cost a lot, while others focus on the conflict between China and the United States, which are often displayed in the form of physical confrontation, such as Jackie Chan and Jet Li's films. Like arrogant and clumsy, the Chinese can always be able to knock them down with their integrity and wisdom and smash their prejudices. In addition, a kind of film is on the theme of love, and they explore whether their love can stand the test when the Chinese come to a strange American society. Inside, we saw different answers from overseas directors and mainland directors.
With the passing of time, some Chinese immigrants, through hard work, gradually became stable in the United States and became the middle class of American society and realized their "American Dream". At this time, they were still unable to be completely integrated into American society, and the main cause of this dilemma became deep cultural differences. Many films began to think more deeply. Father's role became a symbol of Chinese traditional culture. Before his father arrived, their past seemed to have fallen asleep, almost without disturbing their peaceful life. Through the complete westernization of oneself, on the other hand, the memory and compliance of their traditional culture, their self is completely split. This self internal contradiction coexists with the clashes between different family members, which together break the peaceful life of the Middle American Chinese, and make the middle protagonist left and right. A lot of people even start to doubt their original "American Dream".
With the enhancement of China's economic strength and the improvement of its international status, the contrast between China and the United States has changed greatly. This change has also been shown in the film. In the Chinese partner, the United States, like a falling aristocrat, is still very strong and arrogant on the surface, but it has lost its past strength. In the case of China's aggressive attack, in the case of Beijing and Seattle, China is presented as a powerful world of gold. On the contrary, American society is tranquil and tranquil and is a paradise for middle class life. In 90s, many people went to the United States to find opportunities to achieve it. In the new century, the goal of many people to go abroad has been completely reversed. "Beijing is in Seattle > to express that this comfortable middle class has become no longer possible in China, and it is only in the United States. In the film, the image of the United States has become complex and multifaceted. The image of the United States has become so diverse and diverse that it is the result of the common role of the current Chinese ideological and commercial forces.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J909.2

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