發(fā)布時(shí)間：2018-07-05 16:17

  本文選題：加拿大移民電影 + 多元文化　； 參考：《河南大學(xué)》2014年碩士論文

【摘要】：90年代以來的加拿大移民電影,主要由一批有著第三世界族裔背景的新移民青年導(dǎo)演所構(gòu)成；他們的影像呈現(xiàn)主要以來自西亞、北非、拉美、東南亞等第三世界國家和地區(qū)的新移民群體為對象,再現(xiàn)／表現(xiàn)邊緣“他者”面對異質(zhì)語言／習(xí)俗／文化環(huán)境的生存與適應(yīng),以及對新舊身份的選擇與定位,其視線旨?xì)w在于對個(gè)體身份、記憶的探討和思考。而這一主題結(jié)構(gòu)獨(dú)特、光影風(fēng)格鮮明的移民敘事話語,也為加拿大電影(尤其是故事片)帶入全新的發(fā)展征程。 由于加拿大的多元文化意識(shí)形態(tài)影響,繼紀(jì)錄片之后,移民電影在使移民群體獲得鏡像體認(rèn)、舒緩陣痛的同時(shí),也在不期然間自覺／不自覺地踐行起促進(jìn)多元民族文化／群體和諧凝聚、塑造國家整體感的功能,即增進(jìn)交流了解、柔化差異沖突、凝集國家認(rèn)同,至此成為一種導(dǎo)演文化自覺與國家意識(shí)形態(tài)的契合產(chǎn)物；從而在全球化的文化散播中,深刻區(qū)別于英、法等歐陸傳統(tǒng)文化和美國的“大熔爐”文化,使加拿大的“馬賽克”文化形式具有高度辨識(shí)性。 此外,加拿大移民電影作為大眾文化商品,在發(fā)展中依賴市場資本／跨國資本提供制作資金的同時(shí),也不可避免受到資本邏輯及其意識(shí)形態(tài)的潛默影響,其間的修辭策略在資本導(dǎo)向的侵?jǐn)_下悄然發(fā)生著流變。同時(shí),受制于深刻的地緣政治文化影響,加拿大移民電影又最大程度地被美國好萊塢工業(yè)體系所桎梏。 如果說,前期獨(dú)立制片時(shí)加拿大移民電影的修辭編碼與鏡語狀態(tài),通常偏向零散情緒的感性表達(dá),異域風(fēng)情濃厚、符號(hào)隱喻洋溢；同時(shí)旨在為少數(shù)族裔的邊緣群體代言、傳聲,試圖在西方主導(dǎo)的多元文化語境中達(dá)成一種話語平衡。那么可以說,后期的加拿大移民電影則不再過分強(qiáng)調(diào)影像迥異的個(gè)性化風(fēng)格,轉(zhuǎn)而以中產(chǎn)階級(jí)式的保守價(jià)值取向；即以類型化、模式化的敘事策略追求戲劇化、商業(yè)化的視聽效果,更加精心于情節(jié)點(diǎn)的鋪陳和觀賞快感的心理體驗(yàn),從而迎合西方／世界主流市場的審美趣味。同時(shí),后期的移民電影往往只是借助邊緣外裔的形象軀殼,將視線放寬至現(xiàn)代社會(huì)中的普泛性個(gè)體,關(guān)于族裔文化／身份的歷史／記憶議題退而其次甚至避而不談,取而代之是人性、心理、情欲、愛情、死亡、夢想等普適命題的主唱,從而規(guī)避種族／民族間文化差異沖突的呈現(xiàn),以期獲得更大范圍的受眾認(rèn)同。 在這種西方強(qiáng)權(quán)的話語機(jī)制和資本邏輯的逐利趨導(dǎo)下,關(guān)于邊緣少數(shù)群體的現(xiàn)實(shí)訴求和歷史話語,被不斷重構(gòu)／改寫；關(guān)于膚色／移民／族裔的“他者性”敘事,反而被抽象為文化奇觀符號(hào),成為話題被大眾／西方所消費(fèi),最終導(dǎo)致“民族性”的消匿。而在觀影過程中的移民／第三世界群體,受之于民族心理想象被詢喚縫合進(jìn)銀幕凝像的同時(shí),卻也不期然間被裹挾收編于資本消費(fèi)的敘事邏輯中而不可自主發(fā)聲,緘默認(rèn)同的同時(shí)實(shí)則慘遭放逐。 因此,本文旨在通過對90年代以來加拿大移民電影創(chuàng)作的發(fā)展演變研究入手,透過這面以鏡像回廊結(jié)構(gòu)折射加拿大／世界現(xiàn)實(shí)縮影的透鏡,揭開虛幻表象的妖嬈面紗,曝露出加拿大現(xiàn)實(shí)現(xiàn)象中種種敘事話語背后無時(shí)不在運(yùn)作著的權(quán)力機(jī)制與資本邏輯,從而無限接近世界真相／本質(zhì)的精神內(nèi)核。
[Abstract]:Since 90s, the Canadian emigrant films are mainly composed of a group of new emigrant directors with third world ethnic backgrounds; their images are based on the new immigrants from western Asia, North Africa, Latin America, Southeast Asia and other countries and regions. The existence and adaptation of custom / cultural environment, as well as the selection and orientation of new and old identities, are aimed at the exploration and thinking of individual identity and memory. The theme of this theme is unique, and the vivid emigrant narrative discourse of light and shadow plays a new development course for Canadian films (especially stories).
As a result of the multicultural ideology of Canada, after the documentary, immigrant films, while making the immigrant group recognise and soothe the pain, also consciously / unconsciously practise the function of promoting the harmonious aggregation of multi ethnic cultures / groups and shaping the national sense of integrity, that is, to enhance communication understanding and to soften the differences. Conflict and agglutination of national identity, thus become a product of director's cultural consciousness and national ideology, which is deeply distinguished from the traditional European traditional culture and the "melting pot" culture of the United States in the cultural spread of globalization, so that the "mosaic" culture of Canada is highly identifiable.
In addition, as a popular cultural commodity, Canadian immigrant films depend on market capital / transnational capital to provide capital for production, and are inevitably influenced by capital logic and its ideology. The rhetorical strategy between Canada and Canada is quietly changing under the invasion of capital. At the same time, it is subject to profound geopolitical affairs. To control cultural influence, Canadian immigrant movies are shackled to the greatest extent by the American Hollywood industrial system.
If it is said that the rhetorical and mirror state of the Canadian immigrant films are usually biased towards the emotional expression of scattered emotions, the exotic atmosphere is strong, and the symbolic metaphor is overflowing; at the same time, it aims to make a speech balance for the marginal groups of ethnic minorities and try to achieve a kind of discourse balance in the multicultural context dominated by the West. In this case, the later Canadian immigrant films no longer overemphasize the different personalization styles of the images and turn to the conservative value of the middle class; that is, the typization, the patterned narrative strategy is dramatize, the commercialized audio-visual effect is more elaborate and the emotional experience of the feeling node is more elaborate and thus caters to the West. At the same time, the later emigrant films tend to relax to the universal individuals in modern society with the help of the image of the marginal people, and to retreat from the issues of the history / memory of ethnic culture / identity, and to take the place of human nature, psychology, love, love and death. Dream and so on, the main theme of universal proposition, so as to avoid the conflict of racial / ethnic cultural differences, so as to gain a wider audience's recognition.
Under the guidance of the western power of discourse mechanism and capital logic, the realistic appeal and historical discourse of the marginal minority groups have been restructured and rewritten. The "otherness" narrative of the skin color / immigrant / ethnic group is abstracted as a cultural wonder symbol, which is consumed by the public / the West and eventually leads to the "" In the course of the view, the immigrant / Third World Group is subjected to the national psychological imagination being summoned and sutured into the screen. But it is also uncontrollable in the narrative logic of capital consumption.
The purpose of this paper is to start with the development and evolution of the Canadian immigrant film creation since 90s, and to reveal the enchanting veil of the illusory imagery through the lens of mirrored corridors reflecting the reality of Canada / the world, revealing the power behind the narrative discourse of Canadian reality. The logic of mechanism and capital is infinitely close to the truth core of the world.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J909.711

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