凝视存在：评21世纪美国非裔电影《藩篱》与《月光》  

The Gaze at Man’s Existence: A Review of 21st-Century African-American Films Fences and Moonlight

作　　者：李蓓蕾 李辛 Li Beilei;Li Xin(College of Foreign Languages,Zhejiang Normal University,Jinhua 321004,China;The College of Humanities&Sciences,Guizhou Minzu University,Guiyang 550000,China)

机构地区：[1]浙江师范大学外国语学院 [2]贵州民族大学人文科技学院

出　　处：《外国语文研究》2019年第5期31-38,共8页Foreign Language and Literature Research

基　　金：国家社科基金重点项目“美国非裔文学批评史”(项目编号：13AWW005)的阶段性成果

摘　　要：改编自美国非裔文学经典的两部影片《藩篱》和《月光》深度表现并探讨小人物的存在危机和他们面对存在危机时的勇敢坚毅。本文借鉴非洲流散存在哲学理论,解读两部作品中的主人公对他作为黑人的存在的凝视和对爱的追寻这两条隐形线索如何相互交织、贯穿影片,形成独特的艺术张力和意义空间。两部作品虽均对人的存在作深刻凝视,但在凝视的方式和内涵上各有侧重,共同开启了21世纪美国非裔电影对人类之存在的探索之路。它们突破了以往美国电影书写黑人及其生活经验的刻板化形象与模式,是对美国非裔主体生活与精神世界的创造性表征,在非洲流散电影史上有着划时代意义。The two outstanding African American films Fences and Moonlight represent with profundity the existential crises of the nobodies and their braveness and fortitude in confronting the existential crises.Absorbs from Africana philosophy of existence,the essay surveys thoroughly how the two implicit cues,the protagonists’gazing at their existence as blacks and their pilgrimages for love in the films,are closely interwoven in the films,form unique artistic tension and space of meaning.Although the films conduct profound gazing at man’s existence,they differ in the ways and connotations of gazing;they jointly start the 21st-century African-American films’road of exploration for human’s existence in the world.They break through the stereotyped images and modes that American films often apply to writing the black and his experience in life,and are virtually creative representation of the African American’s subjective life and spiritual world,and thus make an epoch in the history of Africana films.

关 键 词：《藩篱》 《月光》 凝视 存在 爱 

分 类 号：J905[艺术—电影电视艺术]