異質(zhì)空間與90年代以來中國“獨立電影”的話語建構(gòu)
發(fā)布時間：2018-07-15 22:45
【摘要】：20世紀(jì)80年代末90年代初,當(dāng)“文化熱”逐漸冷卻,市場經(jīng)濟開始大規(guī)模襲來時,出現(xiàn)的一種新型電影創(chuàng)作型態(tài)——中國獨立電影。中國獨立電影更多指向一種體制外創(chuàng)作,無論隸屬關(guān)系還是作品風(fēng)格都與商業(yè)保持著距離。獨立電影人不再像“第五代”在歷史溝壑處對傳統(tǒng)進行挖掘反思,也不再對社會現(xiàn)實進行美化或溫和展現(xiàn),而是心系中國當(dāng)下社會語境和市場文化氛圍,試圖通過影像勾畫中國現(xiàn)代化進程中普通人和邊緣人物的生存狀態(tài)。他們更多地從邊緣、異質(zhì)、焦慮、沖突層面,去刻畫弱勢群體的境遇,把中國現(xiàn)代化的轉(zhuǎn)型過程拍攝成一個精神、思想和文化的歷程,由此造就了獨立電影的“異質(zhì)性”�！爱愘|(zhì)”相對于“常態(tài)”和“日常”而言,是被規(guī)訓(xùn)劃一的社會環(huán)境。異質(zhì)空間指的是那些似乎與日常生活空間相悖的鏡像、記憶、禁忌以及種種偏離日常生活的行為環(huán)境,但它不是孤立存在的,它與日常生活空間并存,是不自覺地嵌入日常生活空間的一部分,可以說是日常生活空間的一種裂變,一種被忽視的境遇。相對于全球化的整體語境來說,整個中國的影像表達是異質(zhì)的,而在中國的導(dǎo)演圈子中,獨立電影的影像構(gòu)建是異質(zhì)的——因為獨立電影導(dǎo)演的靈感不再建立在“一代人思辨的激情”之上,而是游蕩在各個場所的邊緣處,勇敢地打開那一座座生機勃勃的“異托邦”的倉庫。在具體的影像呈現(xiàn)中,獨立電影的影像敘事表達顯然也帶有很強的異質(zhì)性,正是基于表達內(nèi)容的異質(zhì)性和反叛性,才構(gòu)成了整部影像的特殊性和異質(zhì)性,才進而使得獨立電影導(dǎo)演在整個導(dǎo)演群體中具有突出性。具體來說,獨立電影中的“異質(zhì)空間”表達主要集中于人物的選擇和空間地點的選擇上,這些人物“離經(jīng)叛道”,是不被主流社會關(guān)注和接納的人物,空間地點不同于“異質(zhì)空間”這個寬泛的范圍,在現(xiàn)實社會生活中,它是有具體所指的,但是卻是一些丑陋、殘破和昏暗的地點,來促成整個影像能指的構(gòu)成。獨立電影在呈現(xiàn)生活的本真面貌,傳達出影像的真實性特征時,并通過異質(zhì)聲音、異質(zhì)畫面、異質(zhì)生存狀態(tài)、對傳統(tǒng)秩序進行顛覆來進行自身話語權(quán)的建構(gòu)。但是,新世紀(jì)以來,消費主義和犬儒主義不斷膨脹,社會的思考行為逐步減少,加上獨立電影自身影像的沉重乏味,使得觀眾十分稀少,進而導(dǎo)致獨立電影的話語建構(gòu)十分艱難。獨立的精神是對習(xí)以為常的規(guī)范的逃離,對主導(dǎo)話語嚴密網(wǎng)絡(luò)的總體拒絕,對自我個體獨特性的維護,也就是在當(dāng)代中國話語領(lǐng)域拓展新的空間。面對欲望和話語暴力,獨立電影導(dǎo)演應(yīng)該堅守自我獨立意識,在理性主義坍塌的“后烏托邦”時代追問總體生命的價值歸依何處,堅守“作者電影”之于當(dāng)代中國的現(xiàn)代性立場,繼續(xù)運用“無名”的個人影像敘事展開對都市時代精神的多元體認。
[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.
【學(xué)位授予單位】：華僑大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：J909.2
本文編號：2125621
[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.
【學(xué)位授予單位】：華僑大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：J909.2
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