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本文以近年来流行的电影《海角七号》、《入殓师》、《信使》为例,探讨在金融危机的背景下,这些讲述失意者离开城市,回到故乡、土地以寻找疗救和希望的故事。这些危机时代的文本,通过对家、土地、亲情的回归,一方面延续了19世纪浪漫派以来对工业化、城市化所带来的现代性弊端的批评,另一方面则借用爱情、童年创伤、家庭等商业及文艺片的“烂套”再次成功地使遭遇困境的个体或现代主体想象性地度过危机,只是这种拯救自我的药方是一抹浓浓的乡愁。
In this paper, the popular films “Cape VII”, “Intake” and “Courier” in recent years are discussed in the context of the financial crisis. These are about the frustrated people who left the city and returned to their hometown and land to seek medical treatment and relief Hope story. Through the return of family, land and affection, the texts of these crisis times have continued the criticism of the defects of modernity brought about by industrialization and urbanization on the one hand by the romance of the 19th century; on the other, they have borrowed love, childhood trauma, The “bad set” of commercial and art films, such as the family, has once again succeeded in imagining the crisis-riddled individuals or modern subjects in distress. Only this recipe of self-salvation is a touch of nostalgia.