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昆汀·塔伦蒂诺的电影是西方后解构、后工业及后现代社会语境中“作者电影”的独特个案。从处女作《我最好友人的生日》开始,昆汀就以极端自我的风格以及与后现代的紧密关联脱颖而出。只有在后现代语境下讨论昆汀及其电影,才能对其“含糊混沌的文化、影像身份”做出恰如其分的定位分析。文章从大众趣味与反常规化的矛盾统一、纹饰的暴力美学与戏仿的历史消费、解构中建构和游戏化精神三方面,以后现代文化语境观照昆汀的电影。
Quentin Tarantino’s film is a unique case of “author movie” in the post-industrial and postmodern social contexts of the post-West deconstruction. Starting from the debut “My Best Friend’s Birthday,” Quentin stands out in an extreme ego style and a close connection with postmodernity. Only when Quentin and his films are discussed in the postmodern context can we make a proper orientation analysis of his “vague and chaotic culture and image identity”. From the contradictions and unities of the public interest and anti-normativeness, the historical consumption of aesthetics and parody of violent aesthetics, the construction of deconstruction and the spirit of gamification, the article follows Quentin’s film in the context of modern culture.