论王家卫电影的后现代主义特色
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摘要
二十世纪最后二十年的华语电影圈为世界影坛贡献了众多出色的作品与导演,而王家卫无疑是其中最值得关注的电影作者之一。王家卫凭着自己对人生的敏感、感悟和反省,通过对电影叙事方式的创新,电影内容和形式上呈现出一个与传统电影艺术截然不同的影像世界,形成了独特的电影艺术语言:将时空平面化,将人物边缘化,将故事零散化……体现了强烈的后现代主义特征。王家卫的剧作特色、主题求索和创作风格都与香港这个特殊都市、当代电影及文化界紧密契合,而后现代文化是与当代社会的高度商品化和高度媒介化联系在一起的,香港文化的重要性就是它的后现代性,王家卫电影拍摄手法所显现出的随意性、不确定性和偶然性正是后现代主义电影的突出特征之一,香港多元性的文化和电影类型以及当代国际电影潮流成为王家卫电影创作滋润的文化背景。
王家卫的电影文本所讲述的基本上是一种感情的拒绝与被拒、逃避,以及错位或错失的爱,其人物和社会是隔离的、边缘化的,从而远离中心性、整体性和同一性,追寻和拒绝本是一对矛盾,却又很奇妙地体现在王家卫作品中的每一种角色身上。王家卫的故事是与现实的社会抽离的,也许他要借用武侠、黑帮、怀旧等等各种环境和故事构架来建构他的故事,但是最终的结果无一不是从那些构架中间抽离出来,成为共同本质的人类情感和情绪,它展现在世人面前的是人和人的疏离、沟通的缺乏与障碍,是割舍不去的后现代情感心事,这是王家卫电影文本的共同的母题。
王家卫的电影叙事结构常常断裂,但这并不影响他的电影叙事结构的完整性。相反,王家卫认为在断裂中处处可见段落间的对比而表现出事件的冲突张力,或因类比而强化了主题形象,这种看似断裂的多个故事并存的方式经由王家卫的演绎形成其叙事的独特风格。王家卫的电影叙事中,不论是在时空的处理上还是对人物行为的表现,都强烈地体现出后现代主义的特征,即对传统电影艺术及至传统意识形态的解构和挑战——消解、去中心,通过技术他新将时空平面化从而使其失去纵深感、历史感和连续性,把过去和未来、记忆和幻想、现实和神话按影片表现意念的需要随意剪贴转换,形成了滚滚涌动的意识流式的碎片情节。在影片叙事语法上,戏仿、剪贴、拟象、拼凑、反讽、调侃等标准后现代表述方式在香港的后现代主义影片中得到了淋漓尽致的表现.
王家卫的电影视听语言不断颠覆传统的拍摄技巧,其影片中的视听语言存在着高度的修饰和对现实的重新塑造,是对传统电影视听语言的不断变革和创新,带有浓厚的后现代主义特性。王家卫的电影里每一个镜头的拍摄手法都是在探索着更完美地表现故事主题和内容的途径,他的电影中画面、时空、运动、环境、色彩、音乐的镜头语言总是惊人地新颖,既无意回避或美化现代都市大众文化的俗气和零乱,又具备把俗气的环境点化出诗意的功力,王家卫正是用自已独特的对影像和声音的控制达到了自己在电影上的美学目的。
后现代主义的特征是文化工业的出现,而电影集中体现了文化工业的特征,从这个角度上来说后现代性与商业性是共存的。身为香港“作者电影”代表的王家卫一直自觉积极地谋求在商业机制中运作自己风格化的影片,他以一种前所未有的大胆从形态到语言都对传统电影进行了巧妙的颠覆和改写,最大限度地借用商业影片的类型成衣来对自已的电影进行包装以便进入观众视野,从而建构起一个自已独有的影像世界和一套电影符号体系,被认为是艺术与商业的最乖巧的结合,是后现代语境下的文化工业的最佳艺术表现。王家卫的影片侧重商业类型与作者艺术视野的“拼凑”,具有典型后现代的艺术取向,显出了王家卫在把持商业艺术的平衡上的剧作特色。在电影产业化越来越成为一种趋势的今天,可以说王家卫的这种努力和尝试无疑为我们当前探讨个人化电影创造如何兼顾商业市场的课题提供了难能可贵的借鉴和启示。
王家卫的电影是后现代文本,他的文本中充分运用电影音乐的语言、拼贴的故事、复制的音乐、平面化的影像及拍摄手法所显现出的随意性、不确定性和偶然性,这些都带有强烈的后现代特征,一起拼帖成了王家卫独特的后现代电影语境。在他的电影作品中,讲述的无论是什么故事,也无论这些故事发生在什么时候,其电影都体现出很浓厚的后现代主义色彩,可以说王家卫的拼凑美学、零碎片段及非线性的叙述手法为他换来后现代主义者的标签,其电影的挑战性就在于他把种种后现代主义的手法全部呈现在我们面前,其电影中体现出来的独特和统一的特质的确值得我们去研究和探讨。
The 20th century final 20 year Chinese cinema world has contributed the numerous splendid works and director for the world film circle, but Wang Jiawei is without doubt most is worth one which of movie authors pays attention. Wang Jiawei by reason of oneself to the life sensitive, the feeling becomes aware and engages in introspection, through to the movie narrative way's innovation, the movie content and formally presents one with the traditional movie art entirely different phantom world, has formed the unique movie art language: Complanation the space and time, marginalizes the character,story scattered......After having manifested the intense, modernism characteristic. WangJiawei's dramatic work characteristic, subject seeking and the creation style with Hong Kong this special metropolis, the contemporary movie and the cultural circle close conjunction, the latter modem culture is with the contemporary society's high commercialization and the medium relates highly in together, but after Hong Kong culture's importance is its modernity, after Wang Jiawei's movie photographs the capriciousness which, the uncertainty and fortuitousness the technique appears is precisely, one of modernism movie's prominent characteristics, the Hong Kong polytropic cultures and the movie type as well as the contemporary international movie tidal current become the cultural context which the Wang Jiawei movie creates moistens.
Wang Jiawei's movie text narrated basically is one kind of sentimental rejection with is resisted, the escape, as well as the dislocation or the error love, its character and the society are isolate, the marginalization, thus is far away from the centricity, the integrity and the identity, tracks down and rejects originally is pair of contradictory, actually very much to marvelously manifest in the Wang Jiawei work on each kind of role body. Wang Jiawei's story is pulls out with the reality society to, perhaps he wants to borrow and so on which the knight-errant, the reactionary gang, remembers past times each kind of environment and the story skeleton constructs his story, but the final result is pulls out from these skeletons to, becomes common essential the human emotion and the mood, what it unfolds in front of the common people are the human and the human sparsely to, communication lacking with the barrier, after shears, the modern emotion concern which the shed does not go, this is the Wang Jiawei movie text mother topic together.
Wang Jiawei's movie narrative structure breaks frequently, but this does not affect his movie narrative structure integrity. On the contrary, Wang Jiawei thinks in the break everywhere during the obvious paragraph contrast displays event's conflict tensity, or because of analogied strengthened the subject image, this kind looked that resembled the break many story coexisting way to form its narrative unique style by way of Wang Jiawei's deduction. In Wang Jiawei's movie narrates, no matter in space and time processing to the character behavior's performance, after intensely manifests, modernism's thing drafts, namely to the traditional movie art until tradition ideology's setting at variance with the challenge - - resolution, goes to the center, through technology he newly space and time complanation, thus causes it to lose vertical deeply feeling, the historical feeling and the continuity, the past and the future, the memory and the fantasy, the reality and the myth needs to lay the transformation at will according to the movie performance thought that has formed the stream of consciousness-like fragment plot which rolling surged. In the movie narrative grammar, after the play imitated, laid, plans, to piece together, instead to satirize, teases and so on standards, likely the modern indication way in Hong Kong's modernism movie to obtain the incisive performance.
Wang Jiawei's movie seeing and hearing language subverts traditional unceasingly the photography skill, in its. movie's seeing and hearing language has. the high beautification and to the reality mold again, is transforms unceasingly to the traditional movie seeing and hearing language and innovates, after having the thick, modernism characteristic. Each lens' photography technique is in explores in Wang Jiawei's movie is displaying the story subject and the content way perfectly, in his movie picture, space and time, movement, environment, color, music lens language always astonishingly novel, both has no intention to avoid or the beautified modern metropolis mass culture uncouthness and in disorder, and has the uncouth environment changes magically the poetic sentiment the skill, Wang Jiawei is precisely with, from already unique has achieved to the phantom and the sound control from already at movie's esthetics goal.
The latter modernism's characteristic is the cultural industry appearance, but the movie concentrated has manifested the cultural industry characteristic, after this angle the modernity and the commercial character were coexistent. The body was Hong Kong "the author movie" Representative's Wang Jiawei on own initiative positively has sought in the commercial mechanism operates from already the style movie, he unprecedented has carried on the ingenious subversion and rewriting boldly by one kind from the shape to the language to the traditional movie, maximum limit borrowed the commercial movie the type ready-made clothing comes to from already the movie to carry on the packing in order to enter the audience field of vision, thus constructs one from was in sole possession of the phantom world and a set of movie symbolism, was considered that is artistic and the commercial cleverest union, after is, under modern linguistic environment cultural industry best artistic performance. Wang Jiawei's movie stress commercial type and the author art field of vision "piece together", after having the model, the modern artistic orientation, appeared Wang Jiawei in has dominated the commercial art on the balanced dramatic work characteristic. Becomes one tendency more and more in the movie industrial production today, may say how Wang Jiawei's this kind did create without doubt diligently with the attempt for our current discussion personalization movie gives dual attention to the commercial market the topic to provide commendable model and to inspire.
After Wang Jiawei's movie is, the capriciousness which, the uncertainty and fortuitousness the modern text, in his text using sound track's language, spells fully pastes the story which, duplication music, the complanation shade and the photography technique appears, after these have the intense, modem characteristic, put together the placard to become Wang Jiawei's unique, modern movie linguistic environment after together. In his movie work, narrated, regardless of being any story, also, regardless of when these stories do occur, after its movie manifests the very thick, modernism color, may say that Wang Jiawei pieces together esthetics, the fragmentary fragment and the misalignment narration technique trades after him the modern person's label, after the Wang Jiawei movie's challenging lies in him all sorts, modernism technique to present completely in front of us, in its movie manifests unique and the unified special characteristic indeed is worth us studying and the discussion.
王家卫的电影文本所讲述的基本上是一种感情的拒绝与被拒、逃避,以及错位或错失的爱,其人物和社会是隔离的、边缘化的,从而远离中心性、整体性和同一性,追寻和拒绝本是一对矛盾,却又很奇妙地体现在王家卫作品中的每一种角色身上。王家卫的故事是与现实的社会抽离的,也许他要借用武侠、黑帮、怀旧等等各种环境和故事构架来建构他的故事,但是最终的结果无一不是从那些构架中间抽离出来,成为共同本质的人类情感和情绪,它展现在世人面前的是人和人的疏离、沟通的缺乏与障碍,是割舍不去的后现代情感心事,这是王家卫电影文本的共同的母题。
王家卫的电影叙事结构常常断裂,但这并不影响他的电影叙事结构的完整性。相反,王家卫认为在断裂中处处可见段落间的对比而表现出事件的冲突张力,或因类比而强化了主题形象,这种看似断裂的多个故事并存的方式经由王家卫的演绎形成其叙事的独特风格。王家卫的电影叙事中,不论是在时空的处理上还是对人物行为的表现,都强烈地体现出后现代主义的特征,即对传统电影艺术及至传统意识形态的解构和挑战——消解、去中心,通过技术他新将时空平面化从而使其失去纵深感、历史感和连续性,把过去和未来、记忆和幻想、现实和神话按影片表现意念的需要随意剪贴转换,形成了滚滚涌动的意识流式的碎片情节。在影片叙事语法上,戏仿、剪贴、拟象、拼凑、反讽、调侃等标准后现代表述方式在香港的后现代主义影片中得到了淋漓尽致的表现.
王家卫的电影视听语言不断颠覆传统的拍摄技巧,其影片中的视听语言存在着高度的修饰和对现实的重新塑造,是对传统电影视听语言的不断变革和创新,带有浓厚的后现代主义特性。王家卫的电影里每一个镜头的拍摄手法都是在探索着更完美地表现故事主题和内容的途径,他的电影中画面、时空、运动、环境、色彩、音乐的镜头语言总是惊人地新颖,既无意回避或美化现代都市大众文化的俗气和零乱,又具备把俗气的环境点化出诗意的功力,王家卫正是用自已独特的对影像和声音的控制达到了自己在电影上的美学目的。
后现代主义的特征是文化工业的出现,而电影集中体现了文化工业的特征,从这个角度上来说后现代性与商业性是共存的。身为香港“作者电影”代表的王家卫一直自觉积极地谋求在商业机制中运作自己风格化的影片,他以一种前所未有的大胆从形态到语言都对传统电影进行了巧妙的颠覆和改写,最大限度地借用商业影片的类型成衣来对自已的电影进行包装以便进入观众视野,从而建构起一个自已独有的影像世界和一套电影符号体系,被认为是艺术与商业的最乖巧的结合,是后现代语境下的文化工业的最佳艺术表现。王家卫的影片侧重商业类型与作者艺术视野的“拼凑”,具有典型后现代的艺术取向,显出了王家卫在把持商业艺术的平衡上的剧作特色。在电影产业化越来越成为一种趋势的今天,可以说王家卫的这种努力和尝试无疑为我们当前探讨个人化电影创造如何兼顾商业市场的课题提供了难能可贵的借鉴和启示。
王家卫的电影是后现代文本,他的文本中充分运用电影音乐的语言、拼贴的故事、复制的音乐、平面化的影像及拍摄手法所显现出的随意性、不确定性和偶然性,这些都带有强烈的后现代特征,一起拼帖成了王家卫独特的后现代电影语境。在他的电影作品中,讲述的无论是什么故事,也无论这些故事发生在什么时候,其电影都体现出很浓厚的后现代主义色彩,可以说王家卫的拼凑美学、零碎片段及非线性的叙述手法为他换来后现代主义者的标签,其电影的挑战性就在于他把种种后现代主义的手法全部呈现在我们面前,其电影中体现出来的独特和统一的特质的确值得我们去研究和探讨。
The 20th century final 20 year Chinese cinema world has contributed the numerous splendid works and director for the world film circle, but Wang Jiawei is without doubt most is worth one which of movie authors pays attention. Wang Jiawei by reason of oneself to the life sensitive, the feeling becomes aware and engages in introspection, through to the movie narrative way's innovation, the movie content and formally presents one with the traditional movie art entirely different phantom world, has formed the unique movie art language: Complanation the space and time, marginalizes the character,story scattered......After having manifested the intense, modernism characteristic. WangJiawei's dramatic work characteristic, subject seeking and the creation style with Hong Kong this special metropolis, the contemporary movie and the cultural circle close conjunction, the latter modem culture is with the contemporary society's high commercialization and the medium relates highly in together, but after Hong Kong culture's importance is its modernity, after Wang Jiawei's movie photographs the capriciousness which, the uncertainty and fortuitousness the technique appears is precisely, one of modernism movie's prominent characteristics, the Hong Kong polytropic cultures and the movie type as well as the contemporary international movie tidal current become the cultural context which the Wang Jiawei movie creates moistens.
Wang Jiawei's movie text narrated basically is one kind of sentimental rejection with is resisted, the escape, as well as the dislocation or the error love, its character and the society are isolate, the marginalization, thus is far away from the centricity, the integrity and the identity, tracks down and rejects originally is pair of contradictory, actually very much to marvelously manifest in the Wang Jiawei work on each kind of role body. Wang Jiawei's story is pulls out with the reality society to, perhaps he wants to borrow and so on which the knight-errant, the reactionary gang, remembers past times each kind of environment and the story skeleton constructs his story, but the final result is pulls out from these skeletons to, becomes common essential the human emotion and the mood, what it unfolds in front of the common people are the human and the human sparsely to, communication lacking with the barrier, after shears, the modern emotion concern which the shed does not go, this is the Wang Jiawei movie text mother topic together.
Wang Jiawei's movie narrative structure breaks frequently, but this does not affect his movie narrative structure integrity. On the contrary, Wang Jiawei thinks in the break everywhere during the obvious paragraph contrast displays event's conflict tensity, or because of analogied strengthened the subject image, this kind looked that resembled the break many story coexisting way to form its narrative unique style by way of Wang Jiawei's deduction. In Wang Jiawei's movie narrates, no matter in space and time processing to the character behavior's performance, after intensely manifests, modernism's thing drafts, namely to the traditional movie art until tradition ideology's setting at variance with the challenge - - resolution, goes to the center, through technology he newly space and time complanation, thus causes it to lose vertical deeply feeling, the historical feeling and the continuity, the past and the future, the memory and the fantasy, the reality and the myth needs to lay the transformation at will according to the movie performance thought that has formed the stream of consciousness-like fragment plot which rolling surged. In the movie narrative grammar, after the play imitated, laid, plans, to piece together, instead to satirize, teases and so on standards, likely the modern indication way in Hong Kong's modernism movie to obtain the incisive performance.
Wang Jiawei's movie seeing and hearing language subverts traditional unceasingly the photography skill, in its. movie's seeing and hearing language has. the high beautification and to the reality mold again, is transforms unceasingly to the traditional movie seeing and hearing language and innovates, after having the thick, modernism characteristic. Each lens' photography technique is in explores in Wang Jiawei's movie is displaying the story subject and the content way perfectly, in his movie picture, space and time, movement, environment, color, music lens language always astonishingly novel, both has no intention to avoid or the beautified modern metropolis mass culture uncouthness and in disorder, and has the uncouth environment changes magically the poetic sentiment the skill, Wang Jiawei is precisely with, from already unique has achieved to the phantom and the sound control from already at movie's esthetics goal.
The latter modernism's characteristic is the cultural industry appearance, but the movie concentrated has manifested the cultural industry characteristic, after this angle the modernity and the commercial character were coexistent. The body was Hong Kong "the author movie" Representative's Wang Jiawei on own initiative positively has sought in the commercial mechanism operates from already the style movie, he unprecedented has carried on the ingenious subversion and rewriting boldly by one kind from the shape to the language to the traditional movie, maximum limit borrowed the commercial movie the type ready-made clothing comes to from already the movie to carry on the packing in order to enter the audience field of vision, thus constructs one from was in sole possession of the phantom world and a set of movie symbolism, was considered that is artistic and the commercial cleverest union, after is, under modern linguistic environment cultural industry best artistic performance. Wang Jiawei's movie stress commercial type and the author art field of vision "piece together", after having the model, the modern artistic orientation, appeared Wang Jiawei in has dominated the commercial art on the balanced dramatic work characteristic. Becomes one tendency more and more in the movie industrial production today, may say how Wang Jiawei's this kind did create without doubt diligently with the attempt for our current discussion personalization movie gives dual attention to the commercial market the topic to provide commendable model and to inspire.
After Wang Jiawei's movie is, the capriciousness which, the uncertainty and fortuitousness the modern text, in his text using sound track's language, spells fully pastes the story which, duplication music, the complanation shade and the photography technique appears, after these have the intense, modem characteristic, put together the placard to become Wang Jiawei's unique, modern movie linguistic environment after together. In his movie work, narrated, regardless of being any story, also, regardless of when these stories do occur, after its movie manifests the very thick, modernism color, may say that Wang Jiawei pieces together esthetics, the fragmentary fragment and the misalignment narration technique trades after him the modern person's label, after the Wang Jiawei movie's challenging lies in him all sorts, modernism technique to present completely in front of us, in its movie manifests unique and the unified special characteristic indeed is worth us studying and the discussion.
引文
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[19]杜可风:《光之速记》[M].北京:时报文化企业有限公司 1996
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[21]刘影:《存在主义与王家卫电影》[J].当代矿工2005.11
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[25]谢杜礼:《王家卫的〈花样年华〉》[J].电影评介 2000.6
[26]何恺:《华语影坛十大导演》[J].电影作品 2000.10
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[34]吕艳:《绝望中的救赎-谈王家卫的〈堕落天使〉》[J].当代电影 1997.5
[1](英)托尼.瑞恩:《王家卫:个人魅力表达--1999-2000年的电影革新者》[J]《当代电影》2001年第3期
[2](德)鲁道夫.爱因汉姆:《电影作为艺术》[M].北京:中国电影出版社,1985
[3](美)路易斯.贾内梯:《认识电影》[M].胡尧之等译.北京:中国电影出版社,1997
[4](法)马赛尔.马尔丹:《电影语言》[M].何振淦译.北京:中国电影出版社,1980
[5](美)斯坦利.梭罗门:《电影的观念》[M].北京:中国电影出版社 1983
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[7](美)杰姆逊:《后现代主义与文化理论》[M].西安:陕西师范大学出版社 1987
[8](日本)官崎五郎:《亚洲电影的明天》[J].世界电影 2000.3
[1]瓦.康定斯基:《论艺术的精神》[M]北京 中国社会科学出版社,1987年版第35页
[1]郭小橹:王家卫,作者电影与电影作者[J]《电影艺术》1997年4期36页
[1]李道新:《王家卫的精神走向及其文化含义》[J]当代电影 2001年第3期
[2]张立宪:《家卫森林》[M].北京:现代出版社.2001
[3]王海州:《后现代主义与王家卫电影》[J].影视艺术,2002年第1期
[4]魏少恩:《四出王家卫.洛杉机》[M].香港:陈米记出版有限公司,1995
[5]郝建:《影视类型学》[M].北京:北京大学出版社,2002
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[7]《中国电影资料馆.香港电影图志》[M].浙江摄影出版社,2000年
[8]何恺:《华语影坛十大导演》[J].电影作品,2000年第10期
[9]郭小橹:《王家卫,作者电影与电影作者》[J].电影艺术,1997年第4期
[10]李恒基、杨运婴(合编):《外国电影理论文选》[M].上海:上海文艺出版社,1995
[11]王岳川、尚水(合编):《后现代主义文化与美学》[M].北京:北京大学出版社 1992
[12]香港影业协会:《香港电影》[M].香港:香港影业协会年小组出版,1991
[13]龙闻:《解构王家卫的影像世界》[J].时代影视,2003年第17期
[14]吴国盛:《时间的观念》[M].北京:中国社会科学出版社,1999
[15]王志成:《灯火阑珊,情感辉煌》[J].影响(台湾),1996,2
[16]张会军:《与王家卫谈〈花样年华〉》[J].电影艺术.2001.1
[17]《王家卫从得奖说到他的电影》[J].世界电影动态.1995.17
[18]何志钧:《悲美人生-解读王家卫电影》[J].港台文艺评论 2003.2
[19]杜可风:《光之速记》[M].北京:时报文化企业有限公司 1996
[20]申乐莹:《〈从花样年华〉看王家卫电影的继承性与发展性》[J].上海大学学报(社科版)2002.7
[21]刘影:《存在主义与王家卫电影》[J].当代矿工2005.11
[22]尹朝晖:《论王家卫电影的时间艺术》[J].湘潭师范学院学报(社科版)2003.9
[23]闻天样:《绞肉机与电影-华语电影1990-1996》[M].北京:知书房出版社 1996
[24]凌学东:《迷幻列车-王家卫电影的后现代主义特征》[J].钦州师范高等专科学校学报 2004.4
[25]谢杜礼:《王家卫的〈花样年华〉》[J].电影评介 2000.6
[26]何恺:《华语影坛十大导演》[J].电影作品 2000.10
[27]卢晓云:《王家卫电影艺术解读》[J].南京广播电视大学学报 2005.1
[28]林斐:《一百年电影风云》[J].电影双周刊 2000.5
[29]黄苏瑾:《王家卫电影语言探讨》[J].新疆艺术学院学报 2006.6
[30]《王家卫从得奖说到他的电影》[J].世界电影动态 1995.17
[31]高旭:《作者电影的商业化策略-论王家卫电影的商业性》[J].北京电影学院学报 2000.3
[32]陈墨:《生命的呢喃-王家卫电影阅读阐释》[J].当代电影 2001.3
[33]赵恒瑾:《论王家卫电影中的物像和记忆》[J].社会科学 2002.5
[34]吕艳:《绝望中的救赎-谈王家卫的〈堕落天使〉》[J].当代电影 1997.5
[1](英)托尼.瑞恩:《王家卫:个人魅力表达--1999-2000年的电影革新者》[J]《当代电影》2001年第3期
[2](德)鲁道夫.爱因汉姆:《电影作为艺术》[M].北京:中国电影出版社,1985
[3](美)路易斯.贾内梯:《认识电影》[M].胡尧之等译.北京:中国电影出版社,1997
[4](法)马赛尔.马尔丹:《电影语言》[M].何振淦译.北京:中国电影出版社,1980
[5](美)斯坦利.梭罗门:《电影的观念》[M].北京:中国电影出版社 1983
[6](美)波林.罗斯诺:《后现代主义与社会科学》[M].上海:上海译文出版社 1998
[7](美)杰姆逊:《后现代主义与文化理论》[M].西安:陕西师范大学出版社 1987
[8](日本)官崎五郎:《亚洲电影的明天》[J].世界电影 2000.3
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