摘要
电影《大话西游》是香港电影工业在多元文化语境中进行的一次自我突破。它将后现代主义思潮和中国传统的佛道思想结合,并利用模糊时空美学,体现出独特的思想内涵。该电影存在两个空间化了的时空场域,并用“500年前/后”作为时空结界,用月光宝盒、紫青宝剑、紧箍咒、照妖镜四个道具,改变电影叙事因果关系,在人物不断的转世和时空穿梭中强化历史和现实的自我认同。同时,电影的多重时空,始终指向另一个隐含的、观众的文化时空,即一个具有后现代意味的当代中国人的碎片化的生存语境。
Combining the post- modernist trend and traditional Chinese Buddhist and Daoist thoughts, and employing fuzzy time - space esthetics, A Modem Play of Journey to the West is a self- breakthrough of the Hong Kong movie industry, embodying its unique ideological connotations. And the cause and effect relationship ~n its narration has been altered as a result of making use of the two specialized zones with ＂before/after 500 years＂ as demarcation, and the four props- - - the Moonlight Treasure Box, the Purple Bronze Sword, the Golden Cudgel Curse and monster- revealing mirror, so that a self- identification of history with reality is further strengthened continual transposition of the characters in time and space. At the same time, its multi- dimensional time and space has al along pointed to a single time - space of the invisible audience, viz, it bears a fragmented existing post - modernistic context of the contemporary Chinese.
出处
《山东师范大学学报（人文社会科学版）》
北大核心
2007年第1期82-86,共5页
Journal of Shandong Normal University(Humanities and Social Sciences)
关键词
大话西游
后现代主义
时空文化研究
A Modem Play of Journey to the West
post - medemism
time and space
