Cross-cultural transactions in the film adaptation of Wolf Totem

IF 0.4 3区 艺术学 0 FILM, RADIO, TELEVISION
Yuqing Yang
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引用次数: 1

Abstract

Abstract Jiang Rong’s novel Wolf Totem incited a debate over the veracity of its representation of the steppe and the Mongolian culture, which accounts for the obsession with the real in its Sino-French film adaptation. Unfolding a historical trajectory from a “war against nature” during the Cultural Revolution to the present “war of pollution,” the film delves into trans-media rendezvous with polymorphous facets of a Chinese story. The French director Jean-Jacques Annaud can be seen as the simulacra of the Westerner, an envisioned symbol the novel associates with the nomadic spirit of the Mongol in its attempts to reflect on the “weak” Chinese national character. The film fosters its interpretation of the wolf totem towards a new set of social relations through creating a loop of transcultural appropriation. As the Chinese production team anticipates a blockbuster for a global audience which evades the controversial Han viewing position of Jiang Rong’s writing, the French team’s cultural sensibilities register a European imagination of the Mongol that once dominated Eurasia. That said, the western re-territorialization of the borderland resonates with Jiang Rong’s strategy of otherness, transposing a socio-cultural anxiety onto the gendered body of the other.
《狼图腾》电影改编中的跨文化交流
蒋戎的小说《狼图腾》对草原和蒙古文化的真实表现引发了争论,这也是其中法改编电影中对真实的痴迷。从文革时期的“反自然之战”到现在的“污染之战”,这部电影展开了一个历史轨迹,深入探讨了一个中国故事的多形态的跨媒体交会。法国导演让-雅克·阿诺(Jean-Jacques Annaud)可以被视为西方人的拟像,是小说在试图反思“软弱”的中国民族性格时,与蒙古游牧精神联系在一起的一种想象象征。这部电影通过创造一个跨文化挪用的循环,将狼图腾的解释转向了一套新的社会关系。中国制作团队避开了姜戎作品中有争议的汉人视角,希望为全球观众带来一部大片,而法国制作团队的文化敏感性体现了欧洲人对曾经统治欧亚大陆的蒙古人的想象。也就是说,西方对边疆的重新领土化与姜戎的“他者”策略产生了共鸣,将一种社会文化焦虑转移到他者的性别身体上。
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来源期刊
Journal of Chinese Cinemas
Journal of Chinese Cinemas FILM, RADIO, TELEVISION-
CiteScore
0.50
自引率
0.00%
发文量
16
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