台湾电影中多语现象的意义和价值  

The Significance of the Multilingual Phenomenon in Taiwan Movies

作　　者：全彩宜[1] QUAN Caiyi(School of Humanities,Chongqing Jiaotong University,Chongqing 400074,China)

机构地区：[1]重庆交通大学人文学院,重庆400074

出　　处：《重庆交通大学学报（社会科学版）》2018年第5期94-99,共6页Journal of Chongqing Jiaotong University:Social Sciences Edition

基　　金：重庆市社会科学基金项目"基于汉语国际教育的方言区语言资源研究"(2015PY10);重庆交通大学科研项目"立德树人与传统文化传播"(101322032)

摘　　要：闽南语常常在台湾电影中承担台湾身份和台湾历史经验的论述功能。台湾新电影的代表作《悲情城市》将包括闽南语在内的多种语言(包括外语和汉语方言)混现,可以说将语言所承担的历史经验论述、时代氛围渲染、地域文化表征、权力等级隐喻等功能完美融合,使语言形式本身不仅再现了台湾二战前后多语多元文化冲突的社会现实,赋予电影浓浓的纪实风格,而且凸显提升了闽南语这种方言形式的文化形象。台湾新电影及其后当代台湾电影中对语言形式作为电影创作元素的理解和实践,为大陆影视创作中的方言运用提供了一种经验和视角,突破了运用方言表现边缘社群、落后文明的刻板印象。Different languages,including dialects and foreign languages,are often regarded as a representation of political culture,such as the hierarchy of rights,class of identities. Therefore,languages can become a symbolic element in movies to expound historical experience,to render the atmosphere of the times,to represent regional culture and to metaphor political rights.The phenomenon of multilingual mixing in contemporary Taiwan movies is a typical example of the use of this symbolic element,which also provides a kind of experience for the use of dialects in the mainland movies and breaks the stereotypes of dialects representing the marginal communities and the backward cultural traditions.

关 键 词：多语混用 闽南语 符号元素 台湾电影 

分 类 号：J902[艺术—电影电视艺术]