中国当代电影中的城市游民 = Urban vagrants in contemporary Chinese cinema
陈涛 Chen Tao
Date of Issue2012
School of Humanities and Social Sciences
在中国电影研究领域，“游民”是一个崭新的视角。本文第一次针对“中国当代电影中的城市游民”这一议题进行了完整而综合的考察，不仅梳理了“城市游民”这一类银幕形象的当代谱系，而且详细探讨了后新时期的中国电影对于这一社会群体的再现。通过对电影思想内容、艺术技巧和制片方式的考察，本文剖析了城市代导演如何在市场、政府和西方三种力量作用下对同一类底边人群进行了不同方式的艺术再现。笔者认为，这些不同方式的艺术再现，同其制片方式密切相关。而游民及其艺术再现，对中国后社会主义时期城市化与现代化的主流话语及意识形态构成了一种挑战。围绕这一核心观点，笔者通过细读重要的城市代电影本文，考察了这些作品对于流浪艺人、青少年游民、民工游民、市民游民等不同社会群体的再现，并结合摇滚文化、城市拆迁、身体书写、底层旅行等角度讨论了电影的主题和内容，且围绕游民的底层、边缘、叛逆、流浪、放逐等特质进行了深入分析，最终集中探讨了中国电影“游民再现”的意义。本文也借由“游民再现”这一研究视角，同目前中国电影研究学界的“底层影像”、“民间书写”等相关论述进行对话。 During the twenty years of the post-New Era, Chinese society has undergone tremendous changes in the fields of politics, economy and culture. Since the 1990s, urban vagrants have gradually become a social class that cannot be neglected, whose formation and development expose many social problems emerging in post-socialist China. This dissertation proceeds from a single idea: it is timely and of great importance to chart the artistic representations of city migrants in Chinese films. The study explores how, conditioned by the three forces of market, government and the West, the images of urban vagrants—a marginalized social class—are represented in Urban Generation films by examining film texts, the cinematic language, and the process of production, distribution and consumption. This study also aims to demonstrate that films dealing with artistic representations of vagrants pose a challenge to the mainstream discourse and ideology of urbanization and modernization in post-socialist China. Specifically, through discussing cinematic representations of various social groups (which fall into the category of vagrants), such as travelling artists, homeless youth, migrant workers, and city dwellers, this study attempts to reveal how the cultural traits of vagrants—subaltern, marginalized, rebellious and exiled—and the cultural phenomena of rock culture, urban demolition, body writing and subaltern travel are closely related to and influenced by social and cultural changes in the transformation period of China in the post-New Era. The significance of cinematic representations of vagrants, as shown in this study, lies in the fact that the subaltern voices from the lower class (either from vagrants or as represented by filmmakers) are constructive for the development of contemporary China.
DRNTU::Visual arts and music::Film