华裔新离散电影中的身份再认同与跨文化协商——以《摘金奇缘》《别告诉她》为例  

Re-identification and Cross-cultural Negotiation in the New Chinese Diaspora Films:Take Crazy Rich Asians and The Farewell For Example

作　　者：王宜文[1] 王娅姝[1] WANG Yi-wen;WANG Ya-shu

机构地区：[1]北京师范大学艺术与传媒学院,北京100875

出　　处：《未来传播》2022年第1期95-101,129,共8页Future Communication

基　　金：国家社科基金重大招标项目“当代中国文化国际影响力的生成研究”(16ZDA218);教育部哲学社会科学后期资助项目“中国年度热门影视社会观察研究”(19JHQ044)。

摘　　要：同为现象级海外华裔电影,《摘金奇缘》和《别告诉她》以既相似又各有侧重的方式,再度打开了自《喜福会》以来关于海外华人的影像文化空间。从电影史角度看,两部影片与20世纪八九十年代在西方兴起的跨族裔电影运动以及离散理论形成了呼应,标志着中国第二代移民对世界电影进程的参与和丰富。另一方面,两部影片均源于中华文化源流之上的跨文化实践,又自有其独特的姿态和价值,仅凭来自西方的经验和理论是无法尽述的,而原生的更具包容性的“第三极文化理论”,或许对上述文化实践更具阐释性。Crazy Rich Asians and The Farewell are both phenomenal overseas Chinese movies.These two films have made a new exploration of the film expression about overseas Chinese since The Joy Luck Club,in their similar but distinctive ways.From the perspective of film history,the two films echo the rise of the cross-ethnic film movement and the theory of Diaspora in the West since the 1980 s and 1990 s.They have marked the participation and variety of the second generation of Chinese immigrants in the world film process.On the other hand,the cross-cultural practice of the two films on the basis of Chinese culture also has its unique attitude and value.Western experience and theory cannot fully explain these two films.This paper tries to explain this cultural practice phenomenon by choosing the more inclusive cultural theory of Third Pole.

关 键 词：离散 跨族裔 第三极文化 文化协商 

分 类 号：J905[艺术—电影电视艺术]