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1997年7月1日香港回归,王家卫导演的影片《春光乍泄》就是在这一背景下横空出世的。虽然获奖无数,但它并未引起学界诸如对《花样年华》的热烈研究。本文主要以布雷蒙的叙事序列作为框架,对《春光乍泄》(以下简称《春》)进行详尽叙事分析,进而阐述影片的叙事结构,探索影片背后的深层次主题:逃离。表达导演对于香港回归后何去何从的迷茫以及当下香港本土居民的孤寂无助,但同时面对未来依然坚定、乐观的态度。
On July 1, 1997, the return of Hong Kong to Hong Kong and the film “Happy Together” directed by Wong Kar-wai came out in this context. Although it won numerous awards, it did not arouse academic circles such as the “Mood for Love” of the enthusiastic study. In this article, we mainly make a detailed narrative analysis of “Happy Together” (hereinafter referred to as “spring”) by using Bremmin’s narrative sequence as a framework. Then we elaborate the narrative structure of the film and explore the underlying theme behind the film: escape. To express the director’s confusion over where Hong Kong will go after the reunification and the loneliness of the present Hong Kong residents, they are still firm and optimistic about the future.