陈可辛电影“北上”十年的文化认同与情怀建构  

Cultural Identity and Emotional Construction in Peter Chan film“Go up North”for Ten Years

作　　者：马婷[1,2] 

机构地区：[1]上海大学 [2]西安体育学院

出　　处：《民族艺术研究》2015年第2期28-32,共5页Ethnic Art Studies

摘　　要：CEPA的签订,使大陆与香港合拍成为近十年中国电影市场的主流趋势。其中,香港导演陈可辛可以说是文化融合商业运作的杰出代表。他的影片呈现出了合拍片时代跨越与融合、离散与回归的文化症候,也在一定程度上超越了地域和时代的局限,不乏怀旧反思的情怀和对于人性复杂的冷峻思考。他执导监制的影片在艺术上、商业上都获得了不俗的成绩,值得作为特例研究。The signing of CEPA, enables co - production between directors from the mainland and Hong Kong a mainstream trend in film market in China for recent ten years. A Hongkong director, Peter Chan, is regarded as one outstanding representative of the cultural fusion of business operations. His films, first of all, reveal symptoms of cultural transcendence and integration, discrete and regression in the co - production film era; secondly, his films, go beyond certain geographical and chronological limitations; thirdly, his films embody certain universal feelings and complex humanity. His films, which have gained both art and com- mercial achievements, are particular cases worth study.

关 键 词：陈可辛导演 北上 叙事策略 音乐叙事 

分 类 号：J90[艺术—电影电视艺术]