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纵观20世纪90年代以来的农村儿童电影,在城乡二元对立的思维模式下,常常热衷将镜头对准中国贫困的农村,聚焦于即将辍学的贫困儿童,描述儿童为求学而做的种种不懈努力,这为此类电影带来了一些困境。具体来说,这些影片习惯于用道德化叙事甚至悲情化叙事来规避真正的现实危机,一方面展现农村儿童对城市的向往,将进入城市作为终极的成功想象,另一方面又试图以农村传统的文化根基和伦理美德在农村儿童身上的体现,作为对城市人焦虑空虚功利的疗救来源。农村儿童电影未来的出路,应不再纠结于城市与农村的二分法,而是立足于“儿童本位”的创作理念,建构新的农村儿童形象,表现农村生活的多样性与复杂性,展现儿童丰富多彩的内心世界。
Looking at rural children’s films from the 1990s onwards, in the urban-rural dualistic paradigm, they are often keen to focus their attention on the impoverished rural areas of China, focusing on the poor children who are about to drop out of school, describing the children’s relentless efforts to study Efforts, which brought some difficulties for such films. Specifically, these films are accustomed to using moral narrative or even tragedy narrative to circumvent the real crisis of reality, on the one hand to show rural children’s yearning for the city, will enter the city as the ultimate success imagination, on the other hand try to rural tradition Cultural roots and ethical virtue embodied in rural children, as a source of help to urban people anxiety and empty emptiness. Instead of tying in the dichotomy between urban and rural areas, rural children’s films should be based on the creative concept of “children-based” to construct a new image of rural children, showing the diversity and complexity of rural life, Show children’s colorful inner world.