论文部分内容阅读
《疯狂的石头》现象常常被比喻为大众的黑色的狂欢,它所引发的电影与话语的狂潮使巴赫金的狂欢理论备受瞩目,也引起了更多对后现代主义与大众文化的关注。在梳理疯狂在文化上的寓意和在近期电影制作上的传承,特别是狂潮电影和世界电影的连接时,笔者注意到黑色电影的理念在这潮话语中的缺席,并由此将新黑色电影的概念引入讨论。相佐于黑色幽默,新黑色电影的相关概念更好地沟通了这潮话语中诸如大众,狂欢的视觉想象,电影的信息场,犬型的中西文化运用,虚无主义,犬儒主义等概念。
The phenomenon of “crazy stones” is often compared to the black carnival of the public. The frenzy of movies and discourses it attracted has drawn much attention to Bakhtin’s carnival theory and has drawn more attention to postmodernism and mass culture. In combing the cultural implication of madness and the recent heritage of filmmaking, especially the connection between the frenzy movies and world cinema, I noticed that the concept of black film was absent in this tide of discourse and thus introduced the new black movie The concept of introduction into the discussion. The concept of black humor and the new black movie better communicated the notions of visual appeal such as the public and carnival, the informational field of the movie, the application of Chinese and Western cultures of canines, nihilism and cynicism in this tide of discourse.