猛虎出山，蛟龙下海－－论李安《卧虎藏龙》的文化定位
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增大字体 林 勇 (2006-01-14 11:55:15.0) 第二届中国影视高层论坛论文 Tiger out of the Mountain, Dragon in the Sea [中文提要]：李安导演的第四部华语片《卧虎藏龙》（2000）赢了奥斯卡金像奖，却拢不住中、港、台的大批华人观众。本文通过导演阅历、演职员组成、资金来源、影片内容及风格几方面，剖析《卧虎藏龙》在东、西方所引起的不同回响，并引用弗洛伊德的《家族浪漫史》及周蕾一些有关本土文化的后殖民主义理论探讨，进一步阐释《卧虎藏龙》的文化定位。本文亦提出，诸如前人李小龙、当今李安这样的美籍华裔电影艺术工作者，在打入美国及西方主流电影市场过程中所遇到的一些类似经历。 [Abstract]：Ang Lee’s fourth Chinese language film Crouching Tiger, Hidden Dragon (2000) was nominated for nine Oscars in 2001, including Best Picture, and won four of those, including Best Foreign Language Film and Best Cinematography. However, in terms of box office the film was not as successful in mainland China, Taiwan and Hong Kong (where the audiences are predominately Chinese speakers) as it was in the United States and other Western countries where the majority of the audiences relied on subtitles. This paper examines the reasons for this difference in the film’s reception from five aspects: the American-Chinese background of the director; the transnational cast and crew; the funding origins; the film content; the film style. In analysing the film’s cultural identity, this paper will also apply the findings of Freud in “Family Romances” as well as works by Rey Chow on “the native” (and “the nativeness”) in her postcolonialism discussion. Furthermore, this paper describes the similar paths followed by some American-Chinese film artists which led to their recognition by American mainstream audiences. Thus for these purpose, Bruce Lee’s experience of success is to be compared with Ang Lee’s. [关键词]：文化研究 华语... |
