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在20世纪80年代的文化实践中,开国领袖毛泽东的形象塑造,一度被意识形态表达所笼罩,在此背景之中,“走下神坛的毛泽东”形象在电影文化中的出现,标志着“人”的发现和全面诞生。如果说,《建国大业》是在“建国大业”这样民族国家话语(国族话语)的宏大叙述框架内塑造领袖形象的话,那么《开国大典》则是在日常生活话语的小叙述框架中塑造毛泽东的。一个是从宏大叙述的角度,而另一个是小叙述的角度进行的,这两种倾向在某种程度上代表了毛泽东银屏形象塑造的不同取向和变迁。
In the cultural practice of the 1980s, the image-building of the founding leader Mao Zedong was once enveloped by ideological expressions. In this context, the appearance and symbol of Mao Zedong in the altar in the film culture The discovery of “people ” and the full birth. If we say that “Founding of a Republic” is shaping the image of a leader within the grand narrative framework of the nation-state discourse (national discourse) such as “Founding of a Republic”, then the “founding ceremony” is based on the narrative framework of daily life discourse Shaping Mao’s. One is from the perspective of grand narration and the other is the narration of small narrative. These two tendencies, to some extent, represent the different orientations and changes in the shaping of Mao Zedong’s silver screen.