特定的文化资源只有经过创造性转化,才能够实现它的现代价值。中国悠久丰富的传统文化并不是文化力量的直接对等物,它就像蕴藏在地下的丰富矿藏,如果不经过人工的开采、加工它永远都不可能转化成推进历史列车的动力,不可能“兑现”它的内在能量。因此,特定的文化资源只有经过创造性转化,才能够实现它的现代价值。像传统戏曲《赵氏孤儿》的原作中所贯穿的“血亲至上”的传统道德,这曾经是推进全剧情节发展的重要叙事动力。与此相一致的还有一种“冤冤相报”的复仇伦理。在元杂剧《赵氏孤儿》中屠岸贾开始是要把赵盾全家满门抄斩;而最后在赵孤得势以后屠岸贾却遭全家灭门(“全家尽灭亡”)。现在,如果我们在电影中也沿袭这种“你杀了我全家,我也要杀你全家”的杀戮逻辑,就等于把 Only through creative transformation can a particular cultural resource realize its modern value. China’s long rich traditional culture is not a direct counterpart of cultural power. It is like a rich mineral deposit hidden underground. If it is not artificially exploited, it will never be transformed into a driving force for promoting historical trains. Impossible “Cash” its inner energy. Therefore, a particular cultural resource can only achieve its modern value through creative transformation. As the traditional morality of “blood-supremacy” permeated in the original works of the traditional opera “Orphan of Zhao”, this was once an important narrative motivation for promoting the plot development of the entire drama. In line with this there is also a “revenge ” revenge ethics. In the Yuan drama “Orphan of Zhao”, Tuankang started to copy and chop off the entire family of Zhao Zhao. In the end, however, Tuankang had been killed by the whole family after Zhao became suspicious (“The Family Failed to Die”). Now, if we follow the movie “kill you my whole family, I kill all your family,” the killing logic is equal to