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在世界各国的新电影运动中,“童稚”叙事或者拒斥现代性体制,在试图挣脱现代规训体制、解蔽现代性谎言以及怀旧前现代社会中,构成不同程度的启蒙现代性反思;或者显现出审美气质,在游街的浪荡子、弱者战胜强敌的崇高感以及感性话语的输出中,印证出一种非成人化的审美范畴与抗拒力量。“童稚”意象强烈地传达出新电影运动在从传统到现代的社会断裂中的形式与内容创新,成为新旧交接以及写实或现实批判立场的重要承载。
In the new movie movements in various countries in the world, “childlike” narrates or rejects the modernity system and constitutes different degrees of Enlightenment modernity in an attempt to break free from the modern discipline system, unmask the falsehood of modernity and pre-nostalgic society Reflect; or show the aesthetic temperament, in the wandering streets, the weak benevolent defeat of the enemy and the output of the emotional discourse, to prove a non-adult aesthetic category and resistance force. The images of “childishness” strongly convey the form and content innovation of the new film movement in the social breakage from tradition to modernity, and become an important bearing of the transition from old to new and from the standpoint of realistic or realistic criticism.