后现代的“私人电影”——洪常秀对法国新浪潮的传承与更新  

Postmodern Private Cinema and Hong Shangsoo's Inheritance and Renewal of French New Wave Legacy

作　　者：刘实 Liu Shi

机构地区：[1]昆明理工大学艺术与传媒学院

出　　处：《戏剧（中央戏剧学院学报）》2024年第4期112-126,共15页Drama:The Journal of the Central Academy of Drama

摘　　要：在韩国电影导演图谱中,洪常秀绝世而独立,其鲜明独创的品格让人联想起20世纪60年代后的一些欧洲名导。将洪常秀作品置入与法国新浪潮电影的对话关系中研阅,会发现两者在主题、题材、拍摄模式等方面有明显的脉络渊源。在私媒介盛行的后现代社会,这种用悠然描述取代艰苦论证、以松散闲谈代替紧张行动、凭原地速写接替四处转战的创作风格是对新浪潮遗产的传承与更新。Within the landscape of Korean film directors,Hong Sangsoo stands out as a unique and independent figure,characterized by a distinctive and original style reminiscent of some famous European directors from the post-1960s era.Upon closer examination of Hong's works in the context of a dialogue with the French New Wave,one can discern clear connections between the two movements in terms of themes,subject matter,and filmmaking approaches.In today's post-modern society,where private media is pervasive,Hong's creative style,which replaces laborious argumentation with leisurely descriptions,intense action with casual conversations,and journeys with on-location sketches,serves as both an inheritance and a renewal of the New Wave legacy.

关 键 词：洪常秀 新浪潮 私人电影 后现代 私人循环 

分 类 号：J90[艺术—电影电视艺术]