再见,甘地!——独立后印度政治电影的审美意识形态生产  

Goodbye, Gandhiji!: The Production of Aesthetic Ideology in Post-Independent Indian Political Cinema

作　　者：张忞煜 Zhang Minyu

机构地区：[1]北京大学东方文学研究中心 [2]北京大学外国语学院

出　　处：《电影艺术》2022年第5期126-134,共9页Film Art

基　　金：国家社会科学基金重大项目“冷战后全球主流媒体意识形态演变与人类命运共同体理念引领国际舆论对策研究”(批准号:18ZDA320)阶段性成果。

摘　　要：独立后的印度政治电影不断尝试以艺术想象力为面临各种矛盾的印度设想解决方案,进而生产出了诸多政治导向的审美意识形态。印度政府希望通过塑造一个官方的甘地形象为国家发展主义凝聚共识,但现实冲突却不断在生产革命记忆以对抗官方主流话语。面对加剧的社会分化,宝莱坞电影逐渐告别甘地,转向革命叙事。但是,对革命主义的片面解读不仅在无形中帮助了印度教右翼吸纳社会主义革命的政治遗产,也以后殖民主义反思冲淡了反殖民批判。Post-independent Indian political cinema has made continuous efforts, by applying artistic imagination, to envision solutions for social conflicts-ridden India. Thus, such films produced diverse politics-oriented aesthetic ideologies. Nehruvianist Indian government hoped, by constructing an official image of Mahatma Gandhi, to build a consensus for statist developmentism, but the conflicts in reality have constantly reproduced the revolutionary memories to counter the mainstream official discourse. Witnessing intensifying social stratification after liberalist economic reforms, Bollywood films gradually abandoned Gandhian motifs and turned to revolutionary narratives. However, the narrow interpretation of revolutionism not only, though unconsciously, facilitated the Hindu right wing’s absorbing the political legacy of socialist revolution, but also diluted the anti-colonial criticism by replacing it with superficial post-colonial retrospection.

关 键 词：印度电影 宝莱坞 政治电影 审美意识形态 圣雄甘地 后殖民主义 

分 类 号：J905[艺术—电影电视艺术]