越南奇观与他者生产:从《真爱导游》说起兼及越裔海外影像创作者的创作问题  

The Vietnamese Spectacle and the Production ofthe Other:From A Tourist's Guide to Love to the Creative Problems of Overseas Vietnamese Video Creators

作　　者：李昌俊 

机构地区：[1]南京大学中国新文学研究中心

出　　处：《都市文化研究》2024年第2期394-409,共16页Urban Cultural Studies

基　　金：国家社科基金青年项目“东北解放区乡土小说研究(1945 1949)”(23CZW053)的阶段性成果

摘　　要：作为全球疫情以来第一部在越南拍摄的国际影片,《真爱导游》在传统爱情喜剧的基础上引入了“跨国罗曼司”的情节,影片中“美国—越南”的对位关系贴合于男女主人公,从而塑造起西方中心主义视角下的越南奇观。奇观的产生在很大程度上源于对西方式现代性的执着,而忽视了“另类现代性”的存在。这种现代性的时间与空间关系交互叠合,共同作用,又与当下资本主义世界经济体系中的不同等级/位置关系紧密捆绑,继而塑造出美国乐于助人的“救世主”形象,维系了美国一以贯之的世界形象生产。与陈英雄、武国越等越裔海外影像创作者的作品类似,《真爱导游》在渴望获得西方市场的前提下,难以避免地陷入自我东方主义的窠臼。As the first international film shot in Vietnam since the global epidemic,A Tourist's Guide to Love introduces a“cross-country romance”plot based on the traditional romantic comedy,where the“American-Vietnamese”dyadic relationship fits the male and female protagonists,which creates a“Western-centric”view of the Vietnamese spectacle.To a large extent,the creation of the spectacle stems from the obsessionwith Western-style modernity and the neglect of the existence of“alternative modernity”.The temporal and spatial relations of this modernity overlap and work together,and they are tightly bound to the different hierarchical/positional relations in the current capitalist world economic system,which in turn shapes the image of the United States as a“savior”who is willing to help others,and sustains the production of a consistent image of the United States in the world.Similar to the works of overseas video creators of Vietnamese descent,such as Anh Hung Tran and Victor Vu,A Tourist's Guide to Love,in its desire to gain access to the Western market,inevitably falls into the trap of self-orientalism.

关 键 词：奇观 他者生产 《真爱导游》 越裔海外影像 创作问题 

分 类 号：J905[艺术—电影电视艺术]