美国华裔导演的“摘金时代”:一种新的刻板定见的生成  

Crazy Rich Asians,Directed by a Chinese American:The Generation of a New Stereotype

作　　者：赵轩 Zhao Xuan

机构地区：[1]江苏师范大学传媒与影视学院

出　　处：《华文文学》2021年第4期107-112,共6页Literatures in Chinese

基　　金：江苏师范大学博士学位教师科研支持项目“‘全球化’视阈下华语电影叙事范式与现实主义路径研究”,项目编号:19XFRX024。

摘　　要：《摘金奇缘》带来的商业成功,为新生代华裔导演创设了获得业界关注的绝佳契机。展现"中华文化圈",塑造全新华人银幕形象,一时成为美国新生代华裔导演的固定创作范式。然而,上述导演镜头中的故土叙事已远非《喜福会》时期的乡愁难解,对美国生活方式的认同与对中国传统文化的淡漠始终氤氲其中,更多地显现出资本逻辑对文化认同的潜在约束。包括奢靡多金、戏谑自嘲乃至附庸风雅等之于华人的新型"刻板定见"正在上述影片中逐步生成。迷失于迎合本土市场而沉溺于既定叙事模式与固化人物形象的商业复制,新生代华裔导演实际上放弃了真实塑造自我族裔形象的机会。The commercial success of Crazy Rich Asians provides an excellent opportunity for Chinese American directors of the new generation to catch attention from the filmmaking world.Subsequently,showing off the Chinese Cultural Sphere and shaping the new Chinese cinematic images have become a fixed creative paradigm for them.The problem is that the narration of the native homeland in the camera of the director mentioned above is no longer the nostalgia of The Joy Luck Club as it contains identification with the American ways of living and an indifference to traditional Chinese culture,all the more revealing the potential restrictions the logic of capital puts on cultural identity.New stereotypes,such as the rich,the funny,the self-deprecating and the arty-farty,are all emerging in the likes of the film described above.Lost in the adaptation to the local market and addicted to the commercial reproduction of fixed narrative modes and stereotypical images,Chinese American directors of the new generation have already given up on the opportunity to render a real shaping of their own ethnic images.

关 键 词：新生代美国华裔导演 《摘金奇缘》 刻板定见 华人形象自塑 

分 类 号：I106[文学—世界文学]