【摘要】：近年來,隨著《鬼吹燈》《盜墓筆記》引領盜墓文學興起,盜墓題材電影再度攪動了"池中春水"。從墓穴景觀所承載的社會歷史功能來看,國產(chǎn)盜墓題材作品與好萊塢電影傳遞出白人中心主義與反殖民意識兩種文化傾向。《盜墓筆記》中錯亂的時空與虛幻的人設,共同支撐起這部模糊了現(xiàn)實與臆想界限的個人口述史,然而透過重重迷影,似乎又可以窺探到內(nèi)蘊在本民族文化中的神秘主義傾向與社會歷史、族群記憶的對沖與碰撞。
[Abstract]:In recent years, with the rise of tomb robber literature led by Ghost blowing Lamp, Tomb robber movies have stirred Spring Water in the Pool again. From the point of view of the social and historical functions carried by the tomb landscape, the domestic tomb theft works and Hollywood movies convey two cultural tendencies: White centralism and anti-colonial consciousness. The deranged time and space and illusory people in the Tomb robber Notes. It supports this personal oral history, which blurs the boundary between reality and imagination. However, through many mysteries, it seems that we can spy on the mysticism tendency and social history, and the hedge and collision of ethnic memory, which are embedded in our own national culture.
【基金】：國家新聞出版廣電總局部級社科研究項目(GD1507)
【分類號】：J905
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本文編號：2474525