农村镜像:“现代性”视域下的“互文性”解读  

Countryside Images:“Intertextual”Interpretation in the Perspective of“Modernity”

作　　者：丁莉丽 DING Li-li(School of Television Arts,Communication University of Zhejiang,Hangzhou,Zhejiang 310018)

机构地区：[1]浙江传媒学院电视艺术学院,浙江杭州310018

出　　处：《艺术百家》2022年第1期128-134,共7页Hundred Schools In Arts

摘　　要：当前农村题材影视剧大致提供了三类农村影像:新农村、旧农村和“乡村牧歌”式农村。以“现代性”视域观照当前农村影像,“新农村”主要存在于新农村题材电视剧中,是当下农村社会脱贫、奔小康的“现代化”目标的投射;“旧农村”主要存在于一些文艺片以及作者电影中,以尖锐的“现代性批判”指向农村人文环境的恶化与农民的劣根性;“乡村牧歌”式的影像主要局限于一些文艺电影和纪录片中,是“审美现代性”的产物。三类影像构成的“互文”关系,不但映照了当下关于“现代性”阐释的多元立场,同时一起参与了对农村这一时代镜像的整体性建构。The contemporary film and TV about the countryside offer three types of countryside images:new countryside,old countryside and“idyllic”countryside.In the perspective of“modernity”,“new countryside”mainly exists in the TV plays about the new countryside,reflecting the aim of shaking off poverty and striving for a better-off life;“old countryside”mainly exists in some artistic movies and author-movies,pointing to the deterioration of the cultural environment of the countryside and the deep-rooted bad habits of the peasants;“idyllic”images are limited to some artistic movies and documentaries,being products of“aesthetic modernity”.The three types of images form“intertextuality”,not only reflecting the multi-stances of the contemporary interpretation of“modernity”,but also participating in the integral construction of contemporary countryside images.

关 键 词：现代化 现代性批判 审美现代性 乡村牧歌 

分 类 号：J90[艺术—电影电视艺术]