红土地电影的景观构建与传播价值
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摘要
作为地域想象与文化表征的红土地电影景观,主要经由两种方式建构:一是标志性景观建构自然地理图景;二是差异性景观表征特定历史文化意蕴。红土地电影的传播价值在于记忆重塑与认同建构,主要表现为史诗性叙述方式建构国族想象共同体、意识形态影像符号重塑历史记忆、多重地方意象塑造地域身份等三种叙述方式。红土地电影与国族历史、文化身份及民族精神关联至深,形成了相对固化的美学风格与表达经验,一定程度上造成了刻板印象和认知局限。新媒体时代,红土地电影应通过影像制造的反刻板印象事件扭转被动局面,叙写符合受众期待视野和审美心理的红土地光影故事。
The red land film landscape,which is characterized by the regional imagination and culture,is mainly through two cultural construction methods: one is that the symbolic landscape construct the natural geographical picture,and the second is that the different landscape represents the specific historical and cultural implication. The communication value of the red land film lies in memory remodeling and identity construction. The main performance has three narrative methods:constructing the national imagination community by adopting an epic narrative approach,reshaping historical memory through ideological image symbols and shaping the geographical identity by using multiple local images. Red land film is closely related to the national history,cultural identity and national spirit,which has formed a relatively solidified aesthetic style and expression experience,and to some extent,caused stereotyped image and cognitive limitations. In the new media era,the red land film should reverse the passive situation through the anti-stereotyped image events of image manufacturing,and write the red-land light-shadow story that is in line with the audience's acceptance of the aesthetics.
The red land film landscape,which is characterized by the regional imagination and culture,is mainly through two cultural construction methods: one is that the symbolic landscape construct the natural geographical picture,and the second is that the different landscape represents the specific historical and cultural implication. The communication value of the red land film lies in memory remodeling and identity construction. The main performance has three narrative methods:constructing the national imagination community by adopting an epic narrative approach,reshaping historical memory through ideological image symbols and shaping the geographical identity by using multiple local images. Red land film is closely related to the national history,cultural identity and national spirit,which has formed a relatively solidified aesthetic style and expression experience,and to some extent,caused stereotyped image and cognitive limitations. In the new media era,the red land film should reverse the passive situation through the anti-stereotyped image events of image manufacturing,and write the red-land light-shadow story that is in line with the audience's acceptance of the aesthetics.
引文
[1]邵培仁,杨丽萍.媒介地理学---媒介作为文化图景的研究[M].北京:中国传媒大学出版社,2010.
[2][美]尼克·布朗.电影理论史评[M].徐建生译.北京:中国电影出版社,1994.
[3][英]艾伦·卡斯蒂.电影的戏剧艺术[M].郑志宁译.北京:中国电影出版社,1992.
[4]胡易容.图像符号学:传媒景观世界的图式把握[M].成都:四川大学出版社,2014.
[5][罗马尼亚]米尔恰·伊利亚德.神圣与世俗[M].王建光译.北京:华夏出版社,2002.
[6]龙迪勇.空间叙事研究[M].北京:生活·读书·新知三联书店,2014.
[7]黄向,保继刚,Wall Geoffrey.场所依赖(Place attachment):一种游憩行为现象的研究框架[J].旅游学刊,2006,(9)19-24.
[8]周志懿.有一种根叫故乡(序一)[M].北京:人民文学出版社,2017.
[9]王沛,贺雯.社会认知心理学[M].北京:北京师范大学出版社,2015.
[10]丁锦红,张钦,郭春彦,魏萍.认知心理学[M].北京:中国人民大学出版社,2014.
(1)邵培仁教授在其专著《华莱坞电影概论》中,将“华莱坞”定义为“华人、华语、华事、华史、华地之电影”,笔者将此概念引申至红土地电影之研究范畴。
(1)参见刘上详《江西六十年文学精选(1949-2009)》(电影卷一),南昌:百花洲出版社,2009年,第76-84、188、153-154页。
[2][美]尼克·布朗.电影理论史评[M].徐建生译.北京:中国电影出版社,1994.
[3][英]艾伦·卡斯蒂.电影的戏剧艺术[M].郑志宁译.北京:中国电影出版社,1992.
[4]胡易容.图像符号学:传媒景观世界的图式把握[M].成都:四川大学出版社,2014.
[5][罗马尼亚]米尔恰·伊利亚德.神圣与世俗[M].王建光译.北京:华夏出版社,2002.
[6]龙迪勇.空间叙事研究[M].北京:生活·读书·新知三联书店,2014.
[7]黄向,保继刚,Wall Geoffrey.场所依赖(Place attachment):一种游憩行为现象的研究框架[J].旅游学刊,2006,(9)19-24.
[8]周志懿.有一种根叫故乡(序一)[M].北京:人民文学出版社,2017.
[9]王沛,贺雯.社会认知心理学[M].北京:北京师范大学出版社,2015.
[10]丁锦红,张钦,郭春彦,魏萍.认知心理学[M].北京:中国人民大学出版社,2014.
(1)邵培仁教授在其专著《华莱坞电影概论》中,将“华莱坞”定义为“华人、华语、华事、华史、华地之电影”,笔者将此概念引申至红土地电影之研究范畴。
(1)参见刘上详《江西六十年文学精选(1949-2009)》(电影卷一),南昌:百花洲出版社,2009年,第76-84、188、153-154页。