全球化语境下的香港“异托邦”空间再现  

Spatial Representation of Hong Kong as Heterotopias in the Context of Globalization

作　　者：霍胜侠[1] 

机构地区：[1]中山大学传播与设计学院

出　　处：《文化研究》2018年第2期79-92,共14页Cultural Studies

基　　金：2017年度教育部人文社会科学研究青年基金项目“‘后九七’香港独立电影的国家想象(1997-2017)”(17YJC760024)

摘　　要：本文以陈果《香港有个好莱坞》和许鞍华《天水围的日与夜》两部香港电影为例,借助福柯的异托邦理论和文本分析方法,试图论证两部影片如何再现全球化语境下的香港底层生存空间及其与其他城市空间的关系。陈果通过挪用香港电影传统的“夸张美学”制造震惊效果,反思全球化给本土低下阶层带来的恶果。而许鞍华创造性地以“节制美学”生动再现底层传统节制的生活方式,令观众看到底层在全球化冲击下依然具备重构空间意义的韧性活力。两部影片在内容主旨和美学风格上的对比,体现了香港异托邦空间与日常空间、低下阶层与中上阶层、本土化与全球化之间的复杂张力。This article focuses on the representation of the lower-class inhabitants as well as their living space in two Hong Kong films:Fruit Chan s Hollywood Hong Kong and Ann Hui’s The Way We Are.Inspired by Michel Foucault’s theory of heterotopias and based on textual analysis,it argues that Fruit Chan’s Hollywood Hong Kong emphasizes the great conflict and negative influence of the globalization on the local lower class,through skillfully appropriating the aesthetic of extravagance.Ann Hui’s The Way We Are highlights the tenacity and vitality of the local lower class in the era of globalization and shows their potential to rewrite spatial meanings with their frugal lifestyle,via creatively using the aesthetic of frugality.The comparison of these two films reflects the complex tensions between heterotopias and ordinary urban landscape,between the lower class and other classes,and between the local and the global.

关 键 词：香港电影 全球化 异托邦 低下阶层 

分 类 号：J905[艺术—电影电视艺术]