本文選題：越南社會主義 + 階級圖景　； 參考：《電影文學(xué)》2017年17期

【摘要】：與跨族裔導(dǎo)演陳英雄的電影作品不同,越南本土導(dǎo)演鄧一明的影像書寫并未夾帶任何雜質(zhì)性的"后殖民"凝視,其鏡語中所關(guān)注和呈現(xiàn)的只有那純粹的、貼近越南質(zhì)樸現(xiàn)實(shí)的民風(fēng)、歷史和現(xiàn)狀,潛在勾勒著20世紀(jì)70年代至80年代前后越南經(jīng)濟(jì)體制改革間的社會變遷。本文主要以鄧一明代表作《番石榴熟了》為例,通過文本之內(nèi)的視聽敘事解讀、結(jié)合文本之外的文化癥候分析,解碼鄧一明本土影像敘事深層關(guān)于家國身份與文化記憶議題的觸碰。
[Abstract]:Unlike the films of cross-ethnic director Chan Ho-hsiung, Vietnamese native director Deng Yiming's video writing does not contain any impurity "post-colonial" gaze. What his mirror language focuses on and presents is the pure. The folk style, history and present situation, which are close to the plain reality of Vietnam, may outline the social changes between the economic system reform of Vietnam from the 1970s to the 1980s. This paper takes Deng Yiming's masterpiece, "ripe guava", as an example, through the audio-visual narrative interpretation within the text, combined with the analysis of the cultural symptoms outside the text. Decode Deng Yiming's native video narration deeply about the touching of the issue of family identity and cultural memory.
【作者單位】： 鄭州師范學(xué)院傳播學(xué)院;
【分類號】：J905
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本文編號：2080667