后现代主义视域下的彭浩翔电影研究:从《买凶拍人》到《春娇救志明》  

A Study of Pang Hocheung’s Films from the Perspective of Postmodernism:From “You Shoot,I Shoot” to “Love off the Cuff”

作　　者：刘献弘 LIU Xian-hong(School of Art,Wuhan University,Wuhan 430070,China)

机构地区：[1]武汉大学艺术学院,湖北武汉430070

出　　处：《湖北工业职业技术学院学报》2021年第2期57-61,共5页Journal of Hubei Industrial Polytechnic

摘　　要：后现代主义孕育于现代主义,又脱胎于现代主义,于20世纪50年代作为一种文化思潮而发展。香港导演彭浩翔作为21世纪崛起的新生代电影人,拍摄了一系列具备后现代审美的电影作品。本文将从主题、风格、语言意蕴等三个维度入手,进一步分析彭浩翔的后现代电影世界。Postmodernism was conceived from modernism and born out of modernism,and developed as a cultural trend in the 1950 s. As a new generation of filmmaker in the 21 st century,Hong Kong director Pang Hocheung has produced a series of films with postmodern aesthetics. This paper further analyzes Pang Hocheung’s postmodern film world from three aspects: theme,style,and linguistic meaning.

关 键 词：后现代电影 彭浩翔 买凶拍人 春娇救志明 

分 类 号：J905[艺术—电影电视艺术]