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从《大时代》到《春娇与志明》或许,香港人一直没有怎么改变,变的只是我们看他们的距离。虽然内地也有“上海人”、“北京人”的讲法,把大中华的一个角落撇到异样的角落,略带嫌弃地扬起135度的脑袋,但是这种地域间的划分,永远不比“香港人”那么独特。就似一个送出去养的二哥,血浓于水和生疏差异间,正好够催生不少戏剧点。而更有趣的是,这种“香港人”的概念,很大程度上并非基于正面直接的接触,而是借助于文化产品的二次传播。那些曾经稀有,如今不再值钱的港片、TVB剧,在影像生活还不丰富的当初,填满了内地人对香港以及更远地方的想象。这些港人拍港人的影视作品,到底有多少基于戏剧“三一定律”的提升和美化,尚未可
From the “great era” to the “spring jiao and chi minh” Perhaps the people in Hong Kong have not changed much, just the distance we look at them. Although there are also “Shanghainese” and “Pekingese” legends in the Mainland, leaving one corner of the Greater China to a different corner and raising a 135-degree head slightly out of disdain, the division between these regions, Never “” Hong Kong “so unique. Like sending a brother to send, thicker than the water and strange differences, just enough to spawn a lot of drama. What is even more interesting is that this concept of ”Hong Kong people“ is largely based not on direct and direct contact, but on the second communication of cultural products. Hong Kong films and TVB drama, once rare and now no longer worth the money, fills the imagination of the mainland people in Hong Kong and beyond. How many films and films made by these Hong Kong people in Hong Kong have not yet been promoted or enhanced based on the drama ”SANY’s law "