【摘要】：新世紀(jì)中國(guó)文藝的關(guān)鍵詞中,"底層"無(wú)疑是最為搶眼的。新生代導(dǎo)演在影片中對(duì)于"底層"的表現(xiàn)在一定程度上是對(duì)文學(xué)作品中的"代言"或"立言"的弊端修正。通過(guò)對(duì)城鎮(zhèn)空間的影像建構(gòu)與敘事分析,被遮蔽的底層得以彰顯,城鎮(zhèn)空間的破碎與遷移,"火車"與"街道"這些作為城鎮(zhèn)空間的表征滲透著新生代導(dǎo)演對(duì)于城鎮(zhèn)空間的敏感和獨(dú)特的身處邊緣的城鎮(zhèn)意識(shí)。
[Abstract]:Chinese literature and art in the new century, the "bottom" is undoubtedly the most eye-catching. To some extent, the performance of "bottom" in the film by the new generation of directors is a correction to the malpractice of "endorsements" or "standing words" in literary works. Through the image construction and narrative analysis of the urban space, the hidden bottom layer can be revealed. The fragmentation and migration of urban space, the "train" and "street" as the representations of urban space permeate the new generation directors' sensitivity to urban space and their unique sense of being on the edge of town.
【作者單位】： 哈爾濱學(xué)院;
【基金】：黑龍江省文化廳藝術(shù)規(guī)劃課題資助項(xiàng)目(項(xiàng)目編號(hào):2017B077) 哈爾濱學(xué)院青年博士科研啟動(dòng)基金項(xiàng)目(項(xiàng)目編號(hào):HUDF2017110)階段性成果
【分類號(hào)】：J905
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本文編號(hào)：2247111