爱的荒漠:王家卫电影中的都市镜像及其源流  

Desert of Love:Urban Mirror and Its Origin in Wong Kar-wai’s Films

作　　者：胡佳 曲德煊[1] HU Jia;QU De-xuan(College of Music,Jiangxi Normal University,Nanchang 330027,China)

机构地区：[1]江西师范大学音乐学院,南昌330027

出　　处：《南昌航空大学学报（社会科学版）》2023年第3期84-91,共8页Journal of Nanchang Hangkong University(Social Sciences)

摘　　要：从1988年的《旺角卡门》到2013年的《一代宗师》,王家卫导演在电影创作中勤于探索、自成一派,尤其是对于都市镜像的集中表达和对于都市人生的深度探索,令其在华语电影圈独树一帜,也成就了其电影作者的地位。他的都市隐喻遍布于他所创作的每一部影片之中,孤独感与情感的匮乏是其永恒的主题。这种主题风格来源于他的独特体验和生活经历,也有来自国外电影大师的影响,同时也蕴含了王家卫对于都市意象现代化变革的深刻反思。From Mongkok Carmen in 1988 to The Great Master in 2013,director Wong Kar-wai had been diligent in exploring and forming his own style in film creation,especially the concentrated expression of urban image and the deep exploration of urban life,which had made him unique in the Chinese film circle and also achieved his status as a film author.His urban metaphor pervaded every film,and loneliness and lack of emotion were his eternal proposition.This theme style comes from his unique experience,life experience,and the influence of foreign film masters.At the same time,it also contains Wong Kar-wai’s profound reflection on the modernization of urban image.

关 键 词：王家卫 都市镜像 作者电影理论 孤独感 匮乏 

分 类 号：J90[艺术—电影电视艺术]