现代性的忧思——论杨德昌电影的人物图谱与教化思想  

The Melancholy of Modernity:On the Character Atlas and Enlightenment Thought of Edward Yang's Films

作　　者：曹桐 朱洁[2] Cao Tong;Zhu Jie

机构地区：[1]江苏广播电视总台,江苏南京210008 [2]南京师范大学文学院,江苏南京210024

出　　处：《南京师范大学文学院学报》2021年第4期126-133,共8页Journal of School of Chinese Language and Culture Nanjing Normal University

摘　　要：杨德昌作为台湾新电影运动的重要旗手,其作品聚焦台湾中产阶级的生活与精神状态,重在批判历史及现代文明对个体所带来的影响,刻画了一系列具有当代象征意义的人物形象并构成特定人物图谱。杨德昌电影中的男性角色多带有一种虚弱的无力感,而女性角色则果敢具有力量,可分别定义为“永远的儿子”和“崛起的母亲”。在后期创作中,杨德昌逐步对父亲形象进行构建,并以“理想的父亲”的新形象寄托了对现代人性启蒙的期许。从杨德昌刻画的人物图谱可以看出其对于现代都市人生存困境的忧思,以及启蒙教化的理想方向。As an important standard-bearer of Taiwan's new film movement,Edward Yang's works focus on the life and mental state of Taiwan's middle class,criticizing the impact of history and modern civilization on individuals,and depicting a series of characters with contemporary symbolic significance and constitute a specific figure spectrum.The male characters in Yang's films are often impotent,while the female characters are resolute and powerful,which can be defined as“eternal sons”and“rising mothers”respectively.In his later works,Yang gradually constructed the image of father,and expressed his expectation for the enlightenment of modern human nature with the new image of“ideal father”.We can see Yang's concern about the plight of modern urbanites and his ideal direction of enlightenment from the characters atlas in his films.

关 键 词：杨德昌 现代性 女性主义 教化 

分 类 号：J911[艺术—电影电视艺术]