吴天明西部电影的乡土叙事与“现代的正当性”建构  

The Rural Narrative and the Construction of“Modern Legitimacy”in Wu Tianming’s Western Films

作　　者：阳海洪[1] 杨慧 YANG Haihong;YANG Hui(College of Literature and Journalism,Hunan University of Technology,Zhuzhou 412007,China)

机构地区：[1]湖南工业大学文学与新闻传播学院,湖南株洲412007

出　　处：《湖南工业大学学报（社会科学版）》2024年第6期100-107,共8页Journal of Hunan University of Technology(Social Science Edition)

基　　金：国家社科基金后期资助项目“中国近代新闻舆论工作领导权建设研究”(23FXWB025)。

摘　　要：吴天明在其西部电影中,以城乡关系为主题内容,通过“离乡”“留乡”和“归乡”三种乡土叙事形态,构建了“责任高于权利”“集体高于个体”“民族性高于世界性”的现代正当性基础,乡土文化成为其理解传统与现代关系的最后意义归宿地。吴天明西部电影关于“现代的正当性”的乡土叙事,为中国西部电影乃至中国电影如何在“历史”与“当代”双重对话中,推进传统的现代转化,建构具有历史高度、哲学品格和民族特色的影像表意体系提供了重要启示。In his Western films,Wu Tianming focuses on the theme of urban-rural relations and constructs a modern legitimacy foundation of“responsibility above rights”,“collective above individuals”and“the national above the worldly”through three forms of rural narrative:“leaving the hometown”,“staying in the hometown”and“returning to the hometown”.Rural culture becomes the ultimate destination for his understanding of the relationship between tradition and modernity.Wu Tianming’s rural narrative about modern legitimacy in his Western films provides important inspiration for Chinese Western films and even Chinese films on how to promote the transformation of tradition into modernity in the dual dialogue of“history”and“contemporary”,and construct a visual and symbolic system with historical height,philosophical character,and national characteristics.

关 键 词：吴天明 西部电影 乡土叙事 现代的正当性 

分 类 号：J905[艺术—电影电视艺术]