Miscommunication and Identity in Wayne Wang＇s Films A Stylistic and Linguistic Analysis  

作　　者：Rajko Petkovic Sanja Skific 

机构地区：[1]University ofZadar, Zadar, Croatia

出　　处：《US-China Foreign Language》2011年第8期479-494,共16页美中外语（英文版）

摘　　要：Bridging the gap between independent cinema and mainstream cinema, the best films by Wayne Wang belong to the tradition of cinema of personal statement. His two early films, Chan Is Missing （1982） and Dim Sum： A Little Bit of Heart （1985）, set in the Chinese community in San Francisco, are penetrating character studies exploring the issues of assimilation and identity formation in the immigrant Chinese community. The two films from the nineties, The Joy Luck Club （1993） and Smoke （1995）, explore the themes of miscommunication and cross-cultural differences （a constant presence in his films） in a larger and multiple-story format. While The Joy Luck Club （1993） is set in San Francisco and continues the exploration of the Chinese-American community and inherent generational gaps, Smoke （1995） is set in Brooklyn and does not involve Chinese-American characters. Nevertheless, the themes and their resolution are basically the same, proving the universal nature of Wang＇s films. Exploring the nature of everyday lives, Wang＇s films can be interpreted in light of many different perspectives. This paper will explore the stylistic features of his films, their implicit Zen-Buddhist subtext, as well as their linguistic： dimension, which give an empirical confirmation of the themes explored.

关 键 词：identity formation Zen-Buddhism cross-cultural miscommunication code switching illocutionaryforce 

分 类 号：TP391.12[自动化与计算机技术—计算机应用技术] TB852.1[自动化与计算机技术—计算机科学与技术]