显性反抗与潜在失语——电影《印度有嘻哈》中的本土表达  

Obvious Resistant and Recessive Aphasia——the Local Expressions in Movie “GULLY BOY”

作　　者：王禹丹 WANG Yu-dan(the College of Arts and Sciences Kunming,Kunming 650221,China)

机构地区：[1]昆明文理学院,云南昆明650221

出　　处：《哈尔滨师范大学社会科学学报》2022年第2期150-154,共5页Journal of Social Science of Harbin Normal University

基　　金：2019年度云南师范大学文理学院科教研基金“一带一路背景下中印电影影响研究”(19KJYYB04)。

摘　　要：《印度有嘻哈》是印度的现象级电影,该片是对英国拍摄的奥斯卡最佳影片《贫民窟的百万富翁》的本土性回应。影片主人公同为穆斯林贫民,来自达拉维贫民窟,却重塑了被西方误解的东方印象;在故事层面的处理上,两部影片都致敬了经典电影《德夫达斯》,构建德夫达斯这一道德型人物和他的反面形象息息相关,相较于英国二元对立式的人物设定,该片塑造了更复杂真实的人物身份背景,却最终在神话化的过程中沦为孤单的范本;最后从音乐制作到海外的发布推广都经历了资本的强势裹挟和参与,这导致了反抗主题的逐渐消解和潜在失语的愈发凸显。在中西方文化日益冲突碰撞的现在,中国可以将《印度有嘻哈》作为镜鉴,为本国电影的本土叙事和国际接受提供参考。“GULLY BOY ” is an import Indian movie. The film is a local response to the Oscar-winning “Slumdog Millionaire” filmed in the United Kingdom. The main role of the film is also a Muslim poor from the slums of Dharavi. It reflects the oriental impression misunderstood by the West;take the narrative into consider, both films pay tribute to the classic movie “Devdas”, and the construction of Devdas as a moral character is related to his negative character. Compared to the dualism in the British film, Indian created a more complex and real character background, but eventually became a unique model in the process of mythology;finally, Powerful capital take part in music production and overseas release and promotion, It’s lead to the gradual dissolution of the resistance and the increasing prominence of potential aphasia. Now Chinese and Western cultures are increasingly colliding, China can take “ GULLY BOY ” as a mirror to provide reference for the local narrative and international acceptance of its own films.

关 键 词：印度有嘻哈 反抗 失语 底层叙事 政治隐喻 

分 类 号：G206.2[文化科学—传播学]