中日韩小清新电影的叙述主题与叙述模式比较  

The Narrative Mode and Narrative Theme in the Little Fresh Films of China,Japan,and South Korea

作　　者：敖运梅[1] 

机构地区：[1]复旦大学中文系,上海200433

出　　处：《宁波广播电视大学学报》2014年第2期112-115,128,共5页Journal of Ningbo Radio & TV University

基　　金：2013年度上海市教委科研创新重点项目"近世中日韩城市文学及艺术创新比较"(项目编号:13ZS085)的阶段性成果

摘　　要：中日韩东亚三国在相同的儒学文化背景下,拥有相似的表达方式,其爱情电影的叙事模式都是对传统文化的一种阐释与表达。电影是一种产品,更是民族文化的展演方式之一,中日韩三国文化的多元性就决定了其相互融合与排斥的特质。新近流行的小清新风格电影,中日韩三国具有各自的叙述模式,无论采取何种叙事模式,其展演的立足点永远是本国民族的文化传统与现实社会文化的复合杂糅。The three countries of East Asia, China, Japan, and South Korea, share the same Confucian cultural background, and express things in a similar way. The narrative mode in their love films serves to express and interpret their traditional culture. A film is a product, and a cultural performance of the country. The cultural diversities of these three lands predetermine their mutual absorption and expulsion with each other. The little flesh movies, newly popular in China, Japan and South Korea, have their own narrative mode. However, in whatsoever mode, their standpoint is ever a complex mixture of traditional culture with current life of their own country.

关 键 词：中日韩 小清新 电影 叙述模式 叙述主题 

分 类 号：J901[艺术—电影电视艺术]