电影中的“无家可归”:崩塌的征兆与流动的异托邦  

The Homelessness in Recent Cinema:The Symptoms of Societal Collapse and Floating Heterotopia

作　　者：王昕 Wang Xin

机构地区：[1]北京师范大学艺术与传媒学院

出　　处：《电影艺术》2021年第3期105-110,共6页Film Art

摘　　要：近期全球电影尤其美国电影中无家可归者形象的增多,关系着家的想象在电影中的坍塌与重构。除了通过边缘人叙事进行再现和利用超级英雄模式收编外,电影中新增的一类车居流浪者值得特别关注。这种"以车为家"的新型空间作为流动的异托邦,颠覆和质询了与房地产、金融资本捆绑的家的概念,暗含着一场"不占有的革命"。而这种试图从现有社会法则中逃逸的生活方式,既是2007—2008年金融危机的持续影响,也显影了当下全球资本主义的危机深度。The recent increase in the number of homeless characters in American and global cinema is linked to the collapse and reconfiguration of the imagination about home in film. In addition to the representation of minority narratives and the incorporate of the superhero model, the new category of homelessness—vandwellers in cinema deserves special attention. As a floating heterotopia, this new space of "van as home" subverts and questions the concept of home tied to real estate and financial capital, suggesting a "revolution of non-possession". This way of life, which attempts to escape from the existing social rules, is a follow-up to the financial crisis of 2007-2008 as well as a reflection of the depth of the current crisis of global capitalism.

关 键 词：无家可归 车居者 异托邦 《无依之地》 

分 类 号：J905[艺术—电影电视艺术]