二战后香港地区爱情电影的情感文化透视(1946-2022)  

An Emotional and Cultural Perspective of Hong Kong Romantic Films after the Second World War(1946-2022)

作　　者：邢成武[1] XING Chengwu(School of Art and Design,Sanming University,Sanming 365004,China)

机构地区：[1]三明学院艺术与设计学院,福建三明365004

出　　处：《三明学院学报》2023年第5期72-80,共9页Journal of Sanming University

基　　金：国家社科基金艺术学青年项目(20CC167);三明学院引进高层次人才科研启动经费项目(24YG02S)。

摘　　要：二战后香港地区爱情电影的情感表达,在20世纪40年代中后期至70年代,在伦理道德的束约下,有着鲜明的“情感调控”特质;20世纪八九十年代,呈现出从“情感调控”到“情感至上”的鲜明转向,并在后现代主义的文化语义下,与“后情感主义”表达相夹杂;21世纪以来则呈现出“后情感主义”的消退与“情感至上”的主导性特质。透视二战后香港地区爱情电影的情感文化,需要从“情感调控”“情感至上”“后情感主义”的历时性变迁中进行对比观照。The emotional expression of Hong Kong romantic films after the second world war,between the mid to late 1940s and the 1970s,had a distinct characteristic of“emotional regulation”under the constraints of ethics and morality;During the 1980s and 1990s,there was a clear shift from“emotional regulation”to“emotional supremacy”,and it was mixed with the expression of“post emotionalism”under the cultural semantics of postmodernism;Since the 21st century,it has shown a decline in“post emotionalism”and a dominant characteristic of“emotional supremacy”.Overall,looking at the emotional culture of Hong Kong romantic films after the Second World War requires a comparative observation from the diachronic changes of“emotional regulation”,“emotional supremacy”,and“post emotionalism”.

关 键 词：二战后 香港地区爱情电影 情感调控 情感至上 后情感主义 

分 类 号：J905[艺术—电影电视艺术]