论电影中的民族主义叙事——以香港功夫片为例  

On Nationalism Narrative in Films: A Case Study of Hong Kong Kung-fu Films

作　　者：叶奕翔[1,2] 

机构地区：[1]华南师范大学文学院,广东广州510006 [2]广东警官学院公共课教研部,广东广州510230

出　　处：《湖南科技大学学报（社会科学版）》2013年第2期155-159,共5页Journal of Hunan University of Science and Technology(Social Science Edition)

基　　金：广东省哲学社科规划项目"新时期以来西方叙事学本土化的理论与实践研究(GD10CZW11)

摘　　要：电影是民族主义叙事的重要载体。以香港功夫片为例,其民族主义叙事产生于上世纪70年代,之后不断发展变化,成为功夫片的类型之一。其叙事模式是:以中国功夫解决戏剧冲突(主要是民族矛盾),又可以细分为精武门型、黄飞鸿型和中华丈夫型等三种类型。香港功夫片的民族主义叙事在唤起自强意识、推广中华文化等方面有其积极作用,但也存在着渲染民族情绪、神化中国功夫的通病,对此应予以批判。Film is an important carrier of nationalism narrative.Taking Hong Kong Kung-fu films as examples,the national narrative arose in the 1970s,and developed into a type of Kung-fu films,whose narrative pattern was to solve dramatic conflicts,i.e.mainly national conflicts through Chinese Kung-fu.Nationalism Kung-fu films can be divided into three types,which are the type of Fist of Fury,that of Huang Fei-hong,and that of Heroes of the East.The nationalism narrative in Hong Kong Kung-fu films have positive effects in arousing people’s consciousness of self-improvement and in popularizing Chinese cultures.But they also have common failings such as rendering the national mood and deifying Chinese Kung-fu,which need to be criticized.

关 键 词：电影 香港功夫片 民族主义 叙事 类型 

分 类 号：C55[社会学]