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Film,Television and Theatre Review
ISSN Print:2789-0694
ISSN Online:2789-0708
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从反现代性到反田园牧歌——论李睿珺电影中关于“乡土”的态度转变
From Counter-Modernity to Counter-Pastoral: on the Changing Attitudes towards “Native Soil” in Li Junrui’s Films
Film,Television and Theatre Review
/
2024,4(3): 102-111 / 2024-12-09
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Authors:
胡采熠
Information:
中南财经政法大学新闻与文化传播学院,武汉
Keywords:
反现代性;反田园牧歌;乡土电影;李睿珺
Abstract:
李睿珺导演2022年的电影《隐入尘烟》将视角放在两位被原生家庭抛弃的夫妻身上,通过他们一年的生活展现故乡土地的四季变化。与被看成“反现代性宣言”的“土地三部曲”不同,虽然同样聚焦于西北乡土,《隐入尘烟》却在一定程度上呈现出对此前作品的“反叛”,电影中的“乡土”既是精神疗愈的栖息地,又是现代性焦虑的载体,揭露了乡土社会原本的落后与弊病,在叙事中出现了“反田园牧歌”的色彩。本文选取李睿珺“土地三部曲”的第二部《告诉他们,我乘白鹤去了》与《隐入尘烟》进行比较,从电影符号化的意象、人物关系设置和死亡结局三个方面分析李睿珺创作中出现的从“反现代性”到“反田园牧歌”的转向。
DOI:
https://doi.org/10.35534/fttr.0403014
Cite:
胡采熠.从反现代性到反田园牧歌——论李睿珺电影中关于“乡土”的态度转变[J].影视戏剧评论,2024,4(3):102-111.
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