作为方法的“解构”——论电影《苏州河》中的都市影像与爱情书写  

Deconstruction as a Method:On the Urban Image and Love Writing in the Film Suzhou River

作　　者：张春田 贾雯棋 Zhang Chuntian;Jia Wenqi

机构地区：[1]华东师范大学中文系,上海200062

出　　处：《南京师范大学文学院学报》2022年第2期109-116,共8页Journal of School of Chinese Language and Culture Nanjing Normal University

基　　金：华东师范大学中央高校基本科研业务费项目华东师范大学青年预研究项目(Fundamental Research Funds for the Central Universities)“抒情传统与中国近代文学转型”。

摘　　要：20世纪90年代的上海正处于社会转型阶段,经济高速发展的同时,在刻板的大都市想象之外,荒凉与芜杂的苏州河承载着更多的城市记忆,是当之无愧的“城市档案”。娄烨电影《苏州河》通过对破碎都市形象与失落爱情的刻画,对媒体中常见的上海想象进行了解构化处理。娄烨以独出心裁的交叉式人称叙事和“窥视”的叙事视角,再度颠覆了影像本身的真实性。通过双重解构,电影最终导向对现实生活的救赎,由此引发对现代性迷阵中都市青年命运的反思。In the 1990s,Shanghai was in the stage of social transformation.With the rapid economic development,besides the rigid metropolitan imagination,the desolate and complicated Suzhou River also carried more urban memories,which deserved the title of“urban archives”.Lou Ye's film Suzhou River deconstructs the common imagination of Shanghai in the media through the depiction of broken city image and lost love.Lou Ye subverted the authenticity of the image itself again with his unique intersectional personal narration and“peep”narrative perspective.Through the double deconstruction,the film finally leads to the redemption of real life,which triggers the reflection on the fate of urban youth in the maze of modernity.

关 键 词：《苏州河》 解构 都市影像 爱情书写 

分 类 号：J951[艺术—电影电视艺术]