“黑色”作为方法:香港犯罪电影的分类和阐释路径  

Noir as the Method: The Phases and Interpretive Approaches of Hong Kong Crime Films

作　　者：张春晓[1] Zhang Chunxiao

机构地区：[1]苏州大学文艺学教研室

出　　处：《电影艺术》2021年第4期138-145,共8页Film Art

摘　　要：黑色电影除了被视为类型和风格,毋宁说是一种"家族相似"或语词用法。以之为方法,香港犯罪电影中被认为是"黑色"的影片,可划分为三个阶段并各有侧重的问题意识:战后黑色电影模仿好莱坞,既是先驱也是经典阶段,黑色指向对特定时期的社会批判;英雄片虽具有暴力犯罪的元素,但"义"的价值观仍然是道德清晰的保守主义;银河映像的宿命主题真正触及了"黑色性"内涵,经过动作景观的发展,最终转化为权力批判和政治隐喻,体现出一定的现实主义倾向。Film noir has no clear definition but rather means a family resemblance and a use of a word. By this method, Hong Kong crime films which are often identified as "noir", can be divided into three phases with different problematic emphasis: Postwar films noir which imitated Hollywood could be regard as both a precursor and a classic stage, when "Noir" pointed to social criticism of a specific period. Although the hero films have elements of violence and crimes, the traditional Chinese ethics, namely "yi", still show a tendency of moral clarity and even conservatism. At last, the theme of fate in Milkyway Image’s films really touches the significance of "noirness", develops with the landscape of action, and presently transforms as power critique, the metaphor of politics, and shows a certain tendency of realism.

关 键 词：黑色电影 香港黑色电影 英雄片 银河映像 

分 类 号：J905[艺术—电影电视艺术]