【作者】 翁君怡；

【导师】 孙绍振； 葛桂录；

【作者基本信息】 福建师范大学 ， 比较文学与世界文学， 2011， 博士

【摘要】 大众文化领域的“中美电影影响研究”是近年来学术界探讨的热点。国内学者倾向于从西方霸权话语的角度探讨好莱坞中国(华人)形象生成与发展。从全球化的视野出发探讨中美双方电影领域的互动影响,对于大陆学术界而言,这是一片有待深度开拓的沃野。传统学术界认为对“中华形象”的言说权掌握在以好莱坞为代表的西方强势媒介手中?我们不禁要反思这一结论是否正确?华人电影工作者是否有言说自身的权利?如果有,那么华人影者如何塑造又是向世界传递了怎样的“自塑中华形象”?华人通过影像发出了自我言说的声音,这种声音之于好莱坞是被吸收,还是曲解,或者是遮蔽?这是本文要关注的第二个问题。传统学术观点认为好莱坞立足于西方文化对东方的想象与阐释,通过中华这面镜子只是想反映自己的欲望,却忽视了被反映者之于形象生成的能动作用。然而通过考察中美电影之间的互动影响可以发现,一旦“自塑中华形象”在国际上发出了自己的声音,便获得了在某种程度参与、修整、乃至重塑“好莱坞中华形象”的权力!与西方文化内部固有的东方传统一道成为了好莱坞言说中华的重要资源。本文以历史的线性发展为经,以中美双方的电影交互影响为纬,经纬交错立体而非片面地勾勒出以电影为载体、以中美双方“中华形象”为核心的异质文化交流谱系。当然中外文明之间的交流从来不是一帆风顺的,而华人电影工作者的“自塑中华形象”在全球范围内的传播和推广同样也面临了诸多的挑战。在全球化浪潮中,如何保全自身的“民族性”同时适应“全球化”发展,这一重大命题同样是影像世界不可回避的重要难题。华人电影工作者如何突出电影“民族性”,又不落入“东方主义”的窠臼?如何对待“普世价值”,拒绝还是重新审视?“和而不同”或许可以为中西电影互动,推而广之异质文明之间的交流,提供一个超越“东方主义”的“全球主义”模本。更多还原

【Abstract】 The field of popular culture, "Impact of China and the U.S. film" is a hot spot in academic study in recent years. Domestic scholars tend to point China (Chinese) image formation and development from the hegemony of Hollywood. Starting from a global view of the interaction between the two sides (Chinese and American) of the film industry, to academia in China’s mainland, this is a piece of fertile ground to be.Conventional academia thinks that the right-to-speak of "China image" is in the strong hands of the West media---Hollywood as the representative. We cannot help but reflect on this conclusion is correct? Chinese filmmakers have made their right speaking for themselves? If so, how the Chinese filmmaker shape the China image and what "self-shaping image of Chinese" do they send to the world?Chinese speech for themselves sounds through the media of film images, the sound is being absorbed, or distorted, or shelter by Hollywood? This is the second topic in this article. Traditional academic view is that the Hollywood imagination and the words of China is more from their own perception of the East based on their cultural systems. However, by examining the interaction between the impact of U.S. films, it can be found that, once the " self-shaping image of Chinese" speaks internationally somehow they obtain power to participate, repair, remodel "Hollywood Chinese image"! Together with the East tradition inherent inside the Western culture, they become an important resource for Holly speech of China.In this paper, the linear development of history is the warp; the interaction of China and U.S. film is the weft. Warp and weft cross-dimensionally, rather than one-sided, sketch the Cultural Exchange lineages using film as a carrier and "China image" from both China and U.S as the core.Of course, the communication between Chinese and foreign culture is never easy, but the Chinese film workers "self-shaping image of Chinese " in the global dissemination and promotion are also facing many challenges.In the wave of globalization, how to save their own "national character", at the same time adapt to the development of "globalization", this important topic is also an important and inevitable problem to the world of flim. How can Chinese film makers highlight "national character" in the films but not fall into the "Orientalism" stereotype? How to deal with "universal value", refused or re-examine? "Similar but different" may provide to the interaction of Chinese and Western films, by extension, the exchange of heterogeneous civilizations, a model beyond "Orientalism" of the "global".更多还原