中国武侠电影双序列叙事模式的形态演变及其文化逻辑  

The morphologic evolution and culture logic of double sequence narrative mode in chinese martial arts films

作　　者：刘郁琪[1] 

机构地区：[1]湖南科技大学人文学院,湖南湘潭411201

出　　处：《中南大学学报（社会科学版）》2014年第4期102-107,共6页Journal of Central South University：Social Sciences

基　　金：2010年教育部人文社科基金青年项目"当代香港武侠电影的叙事演变与文化转型(1949-1997)>"(10YJCZH098);2012年湖南省汉语方言与文化科技融合研究基地项目"中国武侠电影中的民俗叙事"(12JDZS003)

摘　　要：中国武侠电影的故事结构史,并非其双序列叙事模式中各要素随心所欲地无规律组合,而是呈现为从古典形态到个性形态,再到现代、后现代形态的规律性演进过程。这种形态演进,与类型陌生化规律、导演个人才能有关,而在根本上受制于现实生存状态的变化,具有周期性、排他性、加速性等特点。若就其与文化环境的关系而言,中国武侠电影双序列叙事模式的形态演变史,就是一部与20世纪以来的中国内地与香港主流意识形态对话的历史,它以其特有的方式和逻辑,参与和建构了中国文化的现代性进程。The history of story structure of Chinese martial arts films is not the elements stack of double sequence narrative mode without any regular pattern, but it has developed with the law from model of classical form to the model of individual form, followed by the model of modern and post-modern form. Although such a kind of evolving regulation has strong relationship with the law of estrangement of types and the ability of director, it is basically controlled by the changes of real survival state. so it has characteristics of periodicity, exclusiveness, acceleration and so on. In terms of the relationship between it and culture environment, the history of double sequence narrative mode of Chinese martial arts films is a dialogue history to mainstream ideology of China since 20th century. It has participated and constructed the process of China culture with its special logical way.

关 键 词：武侠电影 叙事模式 类型电影 大众文化 现代性 

分 类 号：J902[艺术—电影电视艺术]