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近年来香港导演站在华语电影市场意识下,开始了一场新的关于中国民国历史言说的浪潮,例如,张婉婷的《三城记》、许鞍华的《黄金时代》和吴宇森的《太平轮》等。他们不约而同地都以第二代香港人的身份,区别于内地、台湾两地以往历史观,对香港、内地、台湾在民国时期的那段历史进行追寻和反思,对民族国难进行哀悼和纪念。香港导演们的这次集体创作转向充分体现了在华语电影市场整合日益成熟的今天,又开始主动地承担起关注电影文化表达的使命。他们站在新的历史起点下,站在大陆与台湾之间,在“香港”电影向“华语”电影转型和重写历史的背景下,不再失语,重新揭开民国时期整个民族的离散历史、以个体的创伤记忆和历史“痛点”关注,传达了一种新的关于中国历史的言说。
In recent years, with the awareness of the Chinese film market, Hong Kong’s director station has started a new wave of historical speech in the Republic of China. For example, Zhang Wanting’s Trilogy, Xu An’s Golden Age and John Woo’s Taiping and others . They all invariably regard the second generation of Hong Kong as their own identities and are different from the historical views of the two places in the Mainland and Taiwan. They pursue and reflect on the history of Hong Kong, the Mainland and Taiwan during the Republican Period and mourned and commemorated the national national crisis. Hong Kong directors turned to the collective creation of this fully reflects the increasingly mature in the Chinese film market today, has begun to take the initiative to assume the film concerned about the cultural expression of the mission. They stand under the new starting point of history and stand between the mainland and Taiwan. Under the background of the transition from “Hong Kong ” movies to “Chinese ” movies and the rewriting of history, they no longer aphasia and regain the whole of the Republic of China The discrete history of the nation, with individual traumatic memories and historical “pain points,” sends a new message about Chinese history.