昨天又来了:香港与中国内地合拍的电影和大陆化的神话

IF 0.4 3区 艺术学 0 FILM, RADIO, TELEVISION
Gary Bettinson
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引用次数: 7

摘要

摘要自20世纪90年代中期阿克巴尔·阿巴斯(Ackbar Abbas)将香港理论化为文化“消失”的空间以来,批评者一直在争论当地文化形式持续衰落的程度,尤其是作为香港日益受大陆化影响的必然结果。对于一些评论家来说,该地区的电影已经从视野中消失,只是以一种全新的、明显中国化的伪装重新融合——“后香港电影”,这是一种以合作制作为主的电影制作模式,抹杀了传统的香港美学和电影实践惯例。香港电影如此彻底地融入了中国,以至于它曾经的“独特”和“单一”身份不再明显。中国审查制度的枷锁现在扼杀了言论自由;香港的经典流派已经过时;中国流行的“主旋律”电影和“大杂烩”电影限制了香港电影的叙事选择。如今,批评者认为,香港电影人受到大陆官僚机构和中国市场紧迫性的严重制约。本文试图挑战这些假设,质疑一系列明显的老生常谈,涉及大陆审查、香港与中国的合作以及香港本土电影和身份的消散或消失。我认为,内地化理论否定了香港标准工艺实践的持久性;其美学传统;以及电影制作人的智慧。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Yesterday once more: Hong Kong-China coproductions and the myth of mainlandization
Abstract Since Ackbar Abbas theorized Hong Kong as a space of cultural ‘disappearance’ in the mid-1990s, critics have debated the extent to which local cultural forms have continued to recede, particularly as a corollary of Hong Kong’s increasing subjection to mainlandization. For several critics, the region’s cinema has already vanished from view, only to re-emerge in a brand new, distinctly Sinicized guise – that of ‘post-Hong Kong cinema,’ a mode of predominantly coproduced filmmaking that effaces traditional Hong Kong aesthetics and routines of film practice. So thoroughly has Hong Kong cinema been subsumed to China that its once ‘unique’ and ‘singular’ identity is no longer discernible. The shackles of PRC censorship now stifle free expression; Hong Kong’s classic genres have become obsolete; and the PRC’s vogue for ‘main melody’ films and the dapian (‘big film’) has straitened Hong Kong cinema’s range of storytelling options. Today, critics contend, Hong Kong filmmakers are severely constrained by Mainland bureaucracy and the exigencies of the China market. This article seeks to challenge these assumptions, contesting a set of apparent truisms concerning Mainland censorship, Hong Kong-China coproductions, and the dissipation or disappearance of Hong Kong’s local cinema and identity. The theory of mainlandization, I submit, denies the durability of Hong Kong’s standardized craft practices; its aesthetic traditions; and the facile ingenuity of its filmmakers.
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来源期刊
Journal of Chinese Cinemas
Journal of Chinese Cinemas FILM, RADIO, TELEVISION-
CiteScore
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