摘要
本文指出,"后九七"香港电影与内地文化复杂含混的关系,主要通过"无地域空间"的生产以及建立在空间"可移植性"基础上的怀旧情愫表现出来。所谓"无地域空间",指的是某些超越文化和地域特质、或被抽去原地域或文化因素的空间符号,此类空间的突出特征乃是其"可移植性",既在某种程度上形成对原空间滑动和隐喻的暗指,又能够超越于原空间的含混指说关系、经"移植"后被异地域文化所消费。文章进一步指出,"后九七"香港电影的上海执迷,从本质上说是一种怀旧的政治。正是通过对上海的怀旧性想象,香港电影才得以在关系中重新界定"后九七"时代悬疑含混的身份。
This paper argues that the complicated and ambiguous relation of Hong Kong’s 'post-'97' films to the mainland culture is expressed chiefly through the production of 'non-geographical space' and the nostalgia based on the 'transplantability' of space. The term 'non-geographical space' refers to spatial symbols that transcend cultural and geographical specificity, or are stripped of original geographical or cultural elements. The striking feature of such space is its 'transplantability,' both suggesting, to some extent, the slide and the metaphor of the original space and transcending the ambiguous reference to that space, which is consumed by a different geographical culture when it is 'transplanted'. The paper further argues that the 'post-'97 Hong Kong cinema’s obsession with Shanghai is essentially a politics of nostalgia. It is through the nostalgic imagination of Shanghai that the culture and cinema of Hong Kong can manage to redefine its unresolved and ambiguous identity in the 'post-'97 era.
出处
《文艺研究》
CSSCI
北大核心
2007年第11期32-38,共7页
Literature & Art Studies
