發(fā)布時(shí)間：2018-12-09 14:44

【摘要】：馮小剛電影是書寫中國(guó)底層經(jīng)驗(yàn)"當(dāng)代性"最具有標(biāo)志性意義的。而《我不是潘金蓮》以獨(dú)特的視角,以"社會(huì)互文本效應(yīng)"將李雪蓮普通的民間訴求演變?yōu)?民告官"的荒誕鬧劇,直接介入當(dāng)下國(guó)民生存的精神境遇與社會(huì)心理狀態(tài),從而言說(shuō)底層經(jīng)驗(yàn)的"當(dāng)代性"。在此過(guò)程之中,通過(guò)對(duì)現(xiàn)實(shí)語(yǔ)境的轉(zhuǎn)換和對(duì)照,形成了"鄉(xiāng)土"與"現(xiàn)代"的極端表達(dá),凸顯了個(gè)體生存境遇與價(jià)值追尋的尷尬與無(wú)奈,構(gòu)成了獨(dú)特的審美特征和藝術(shù)價(jià)值。
[Abstract]:Feng Xiaogang's film is the most iconic one in writing the contemporary experience of China's bottom-level experience. "I am not Pan Jinlian" with a unique angle of view, with "social mutual text effect", Li Xuelian's ordinary folk demands are transformed into the absurd farce of "people suing officials", and directly involved in the spiritual situation and social psychological state of the people's existence. In order to speak of the bottom of the experience of the "contemporary". In this process, through the transformation and contrast of the realistic context, the extreme expression of "native land" and "modern" is formed, which highlights the embarrassment and helplessness of individual living circumstances and pursuit of value, and constitutes a unique aesthetic characteristic and artistic value.
【作者單位】： 西安培華學(xué)院文學(xué)院;
【分類號(hào)】：J905
，

本文編號(hào)：2369556