新浪潮电影的本土化实践——以严浩《似水流年》为例  

The Localization Practice of New Wave Movies:Taking Yim Ho's Homecoming as an Example

作　　者：田泥 TIAN Ni

机构地区：[1]中国社会科学院大学 [2]中国社会科学院文学研究所

出　　处：《北京社会科学》2022年第9期55-63,共9页Social Sciences of Beijing

摘　　要：作为新浪潮电影在本土美学实践的代表作,严浩的《似水流年》借助西方现代电影语言进行了电影内涵、意义表达的艺术实验,开拓出了一片不同于香港主流商业电影的影像空间。《似水流年》具有多重美学意蕴,反映了城乡切换不仅是物理空间的改变,也意味着因时间与空间中的移动,人的精神结构、思想观念、思维方式、价值观等发生了改变,而这恰恰说明,个体或群体的主体性在城乡切换的多元建构中至关重要。该片展现了港人由于所处历史时空与母体文化存在的割裂性,同时也反映了其对中华母体精神的依存性,因此电影不仅具有中华母体文化内涵与精神底蕴,也具有现实意义与审美价值。As the representative work of New Wave movies in local aesthetic practice,Yim Ho's Homecoming makes an artistic experiment of film connotation and meaning expression with the help of modern western film language,and opens up an image space different from the mainstream commercial films in Hong Kong.Homecoming has multiple aesthetic implications,reflecting that the switch between urban and rural areas not only means the change of physical space,but also means that people's spiritual structure,ideas,ways of thinking and values have changed due to the movement in time and space.This just shows that the subjectivity of individuals or groups is very important in the pluralistic construction of urban-rural switching.At the same time,the film not only shows the split between Hong Kong's historical time and space and its mother culture,but also reflects the spiritual dependence of Hong Kong people on the Chinese mother.Therefore,the film not only has the cultural connotation and spiritual foundation of Chinese mother,but also has contemporary practical significance and aesthetic value.

关 键 词：香港新浪潮 《似水流年》 城乡切换 景观叙事 女性主体建构 

分 类 号：I207.6[文学—中国文学]