叠层表述与废墟记忆:贾樟柯的《二十四城记》  

Jia Zhangke's 24 City and its Folk Memories with Multi-layered Narrative

作　　者：余夏云[1] YU Xia-yun(School of Humanities,Southrvest Jiaotong University,Chengdu,Sichuan,611756)

机构地区：[1]西南交通大学人文学院,四川成都611756

出　　处：《艺术百家》2020年第3期47-52,共6页Hundred Schools In Arts

基　　金：2019年度西南交通大学研究生导师团队建设项目"现代中国文学学科融合与培养模式创新"(项目编号:YJSYDSTD201921)阶段性成果之一。

摘　　要：贾樟柯的《二十四城记》以口述史的形式,对20世纪90年代的中国经济转型做了重要回应和再现。电影通过并置和容纳来自不同地区的口音进行了底层讲述,拆解了大历史叙述的整一性和严正性,同时也发掘了同一音调中荒腔走板的趋向。在三代厂花的重写型叙述中,建立了另一种纵向的多音关系,揭示了历史记忆的不稳定性和流动性。影片浓郁的感伤、怀旧气息,既可以看成是导演对20世纪80年代乡土寻根的一个礼敬和传承,也是他试图复杂化先锋反抗的使用语境,探索全球商品化潮流中,地方是如何变身为“球域化”的典型而进行文化上的抵抗与反思的。In the form of oral presentation,Jia Zhangke’s 24 City makes an important representation of economic transition in 1990 s China. By juxtaposing several dialects,the film challenges the totality and solemnity of the narration of sublime History,and explores the multi-layer of the same voice. In the rewriting stories of three factory-flowers,the film develops a diachronic voice and reveals the instability and mobility of the memories. With a strong sentimental and nostalgic atmosphere,the film can not only be regarded as a response to the Root-seeking Literature in 1980 s,but also be an endeavor to complicate the using context of pioneer discourse. What’s more,it explores how the local place could become typical of glocation and practice the cultural resistance in the global commercial trend.

关 键 词：电影艺术 多音性 《二十四城记》 民间记忆 贾樟柯 

分 类 号：J9[艺术—电影电视艺术]