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作 者:胡丹妮 HU Dan-ni(School of Literature,Southwest University,Chongqing 400715,China)
出 处:《湖北工业职业技术学院学报》2024年第4期53-58,共6页Journal of Hubei Industrial Polytechnic
摘 要:在方法论意义上,传统与新浪潮的辩证关系对后来的日本电影发展启发巨大。进入新时期以来,伴随全球化、电影数码转型、流媒体的崛起与新冠疫情,普通观众接近电影的方式发生了深刻的变化,日本电影如何处理自身文化“内向性”问题变得愈发紧迫。与是枝裕和、河濑直美、黑泽清等影人一起开创日本电影“第三个黄金期”的滨口龙介在当下日本导演中是极具代表性的一位,由其改编的《驾驶我的车》在全球范围内掀起了一股艺术电影的热潮。既有对传统的接纳,也有对传统的疏离,影片呈现出一种更加多元、复杂的艺术史观。它的成功不仅是日本电影产业合理化推动的结果,更与滨口在改编村上春树小说的过程中赋予作品的灵韵息息相关,对于戏剧形式的强调、集体性的召唤、观众双重幻想的重新看见,以哲理化的艺术手段一次次向电影本体不断归返,不仅对现行的电影观念发起了一场挑战,同时也对日本应该如何在世界政治中思考问题构成了良性的追问。In terms of methodology,the dialectical relationship between tradition and the new wave has greatly inspired the later development of Japanese cinema.Since entering the new era,with globalization,digital transformation of films,the rise of streaming media and the COVID 19,the way audiences approach films has undergone profound changes.How Japanese films deal with their own cultural"introversion"has become increasingly urgent.Ryusuke Hamaguchi,who cofounded the“third golden age”of Japanese cinema with filmmakers such as Koreeda Hirokazu,Naomi Kawase,Kiyoshi Kurosawa,is a highly representative among current Japanese directors.His adaptation of"Drive My Car"has sparked a wave of art films worldwide.There is both acceptance of tradition and alienation from it,presenting a more diverse and complex view of art history in the film.Its success is not only the result of the rationalization of the Japanese film industry,but also closely related to the spiritual charm bestowed upon the works by Hamaguchi in the process of adapting Haruki Murakami's novel.The emphasis on theatrical form,communality,and the reviewing of audience's double fantasies have repeatedly returned to the essence of the film through philosophical artistic means.This not only challenges the current concept of the film,but poses a positive question on how Japan should think about issues in world politics as well.
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