跨时空的融通:喜剧人物林亚珍与憨豆先生比较研究  

An Integration across Time and Space:A Comparative Study on Comic Characters Lam Ah Chun and Mr.Bean

作　　者：冯芃芃[1] 肖懿轩 FENG Pengpeng;XIAO Yixuan(School of Foreign Languages,Guangzhou,Guangdong 510275,China;School of Arts,SUN Yat-sen University,Guangzhou,Guangdong 510275,China)

机构地区：[1]中山大学外国语学院,广东广州510275 [2]中山大学艺术学院,广东广州510275

出　　处：《贵州大学学报（艺术版）》2024年第4期54-62,共9页Journal of Guizhou University Art Edition

基　　金：广东省教育科学规划项目(高等教育专项)“基于学科融合的全球文明美育理论建构与实践探索”(项目编号:2023GXJK209)。

摘　　要：从文化氛围、成长经历、形象塑造等方面进行比较,《点止咁简单》中的林亚珍与《憨豆先生》中的憨豆在创作策略上有很多融通之处。两个人物均具有审丑基因,其相似的成长经历背后是喜剧人物的现实意义,而他们都已成为文化符号的事实表明了喜剧的影响力;两个喜剧人物与饰演他们的明星之间相辅相成,明星不仅是意识形态的符号,也是具有个人能动性的表演主体;喜剧创作带有挑战性与颠覆性,两个人物对性别身份的反叛或消解是喜剧性的一个重要特征,而喜剧的狂欢和戏仿都潜藏着意义生产的解放性因素。In terms of cultural ambiance,growth experiences,and image construction,Lam Ah Chun shares many similarities with Mr.Bean as both characters possess an aesthetic gene for ugliness,with their similar upbringings reflecting the comic characters’real-world significance.The fact that they have both become cultural symbols underscores the influence of comedy.The interdependence between the two comic characters and the stars who portray them is the testament to the stars being not only ideological symbols but also active performers with personal initiative.Comedy creation is marked by challenges and subversion,with the characters’rebellion or dissolution of gender identity serving as a key characteristic of comedic wit,while the revelry and parody in comedy contain the liberating factors in the production of meaning.

关 键 词：比较电影 跨文化传播 喜剧人物 林亚珍 憨豆先生 

分 类 号：J905[艺术—电影电视艺术]