世纪之交中国电影中的城市摩托青年形象  

Images of Urban Youth on Motorcycles in Chinese Movie at the Turn of the Century

作　　者：何明敏[1] 

机构地区：[1]上海师范大学都市文化研究中心,上海200234

出　　处：《南通大学学报（社会科学版）》2017年第3期101-106,共6页Journal of Nantong University:Social Sciences Edition

基　　金：国家社会科学基金青年项目(16CZW055)

摘　　要：以美国、香港电影为代表的媒体景观诠释了一种关于反叛精神、自由个性、英雄气概和浪漫情调的摩托车文化。这是消费社会为迎合青少年群体的心理赋予摩托车的象征意义。在世纪之交的三部中国电影《苏州河》、《北京乐与路》和《任逍遥》里,摩托车既是媒体景观介入城市日常生活的一个影像符号,也是主人公现实命运的一种折射。他们一方面参照媒体景观建构和想象自我的生活,另一方面却面临全球化所带来的困境。身处一个转型时期的城市社会,他们拒绝上一代的生活方式,转而寻求媒体景观所制造的消费幻象,却被更为现代化的城市空间所驱逐。于是他们骑着摩托车四处游荡,沦为城市社会的不安定因素。这一青年群体及其城市经验所反映的是中国社会在转型时期的一个过渡现象。Media scapes represented by USA and Hong Kong movies interpret motorcycle culture about rebellious spir- it, free personality, heroic spirit and romance, which is endowed by consumptive society to meet the psychologic demands of the youth. At the turn of the century, motorcycles in three Chinese movies, namely, Suzhou River, Beijing Rocks and l am Free, are both the symbols of media scapes in urban life and the reflection of the destinies of protagonists. On the one hand, they construct and imagine a life described by media scapes. One the other hand, they are confronted with dilemma caused by globalization. In a transitional society, they refuse to live the same life as their parents and pursue the consumptive illusions created by media scapes, but are dispelled by urban space with modernization. Therefore, they ride motorcycles, hang around and become the instable factors in society. This group of youth and their urban experience reflect a transitional feature of Chinese society.

关 键 词：媒体景观 城市青年 摩托车 城市空间 游荡者 

分 类 号：J905.2[艺术—电影电视艺术]