【作者】 杨裕曦；

【导师】 夏之放；

【作者基本信息】 山东师范大学 ， 文艺学， 2008， 硕士

【摘要】 近年来,不少有关都市的影视作品都出现了地铁空间这一独特的形象,它正日益成为影像世界里现代都市的一个关键符号。地铁空间往往身兼数职,既是事件发生和人物活动的场景,充当空间性的道具;也是时代背景和人物身份的象征物,充当工具性的道具;还暗合着情节的发展变化,充当叙事性的道具。而现实生活中的地铁不仅是广大市民重要而实在的交通工具,而且是众多媒体挖掘素材的福地,还是城市经济快速发展的标志,成为反映一个城市繁荣程度的重要指标。另外,作为一种独特的空间形式,地铁还勾连着全球化、居所与身体等几个不同的空间层面,成为一个多重空间的浓缩与集合。本文选取影视作品中的地铁空间为研究对象,借助20世纪后半期出现的“空间转向”相关理论,借鉴文化研究中的个案分析方法,力图将地铁这一独特的空间形态所折射出的现代都市以及现代社会的一些问题呈现出来,并进一步分析这些问题出现的深层原因,力求能够得出有价值的结论与有意义的解决途径。论文主要由以下三个部分构成:第一部分为地铁作为现代化大都市的意象性展示。该部分从相关影视作品中的人物与情节入手,整理并挖掘出现代都市人迷茫、困惑等精神病症及造成这些病症的原因。我们认为正是以地铁为代表的经过严整设计与规划的现代都市空间带给人们对现有生活空间认知的碎片化趋向,而这种趋向加重了人们在都市生活的困难,引致了他们逐渐形成所谓的“城市型神经反应”,即对切近事物麻木、冰冷甚至拒斥,对远距离的或想象的事物分外敏感的精神状况。第二部分为地铁作为全球化影像的假定性呈现。该部分重点阐释了影视作品中地铁空间反映出的现代都市空间在全球化影响下的同一化倾向。地铁空间成为可以在全球范围内复制的都市空间形态,而这种形态经由影像的渲染正在演化为一个同质化的世界幻象。其中还混杂了被现代文明规训了的标准化身体。它们有着几乎一致的生存体验、生活方式、对自身位置的迷茫以及由此而来的紧张与焦虑等精神问题。而地铁空间在影像世界中有时被幻化为人类想象中摆脱这些紧张与焦虑的通道。第三部分为地铁作为漂泊者精神家园的理想诉求。此部分着重以相关电影及电视剧中出现的都市人群和地铁中的“漂泊者”为研究对象,通过分析他们之间的相互关系、以及与地铁空间的关系,来反映现代人对于生存空间与居住空间(家园)的一种不同于前现代的体认。该部分的“漂泊者”包括都市中的上班族、失意人(失业者与部分陷入精神困顿的游荡者)、无家可归者(游荡在都市中的边缘人)三类。本文认为所谓的“漂泊者”,特别是那些类似“游荡者”的“无家可归者”,正是以一种消极姿态反抗现代社会空间规训与压制的实践者。无论是现实生活中作为都市空间组成部分的地铁,还是进入影像成为一种美学意象的地铁空间,都已经成为现代都市一个重要的空间符号。它不仅表征着都市的经济水平、发展程度,而且反射着现代都市人的某些心理特点与精神状况,同时还可能承载了他们某些美好却卑微的愿景和希望。总之,地铁已经是一个浓缩了现代化与都市化进程中许多现实问题与精神困境的空间典型。而借助哲学、社会学与文化地理学上的空间视角探讨地铁空间影像背后的文化意义,或许可以以一种管窥的方式,探究上述问题及困境的成因与具体情况,有助于找到可能的解决方法。更多还原

【Abstract】 As an artistic image, metro space has appeared in numerous recent movies and TV series, which is increasingly emerging as an important symbol of modern city in the world of images.Metro space often plays various roles in movies and TV series. It can act as the scene of characters and incidents, the background of times, as well as the symbol of character’s identity. Sometimes it is necessary for the development of plot, bearing narrative functions too. Metro is not only a transportation mean, but also a sign of metropolis. Moreover, as metro includes globalization, residence and body, it becomes an aggregate of space.This thesis employs theories of the“spatial turn”emerging in latter half of the 20th century as the theoretical background and chooses case study in cultural studies as the methods, aiming at interpreting the cultural meaning of the metro space in movies and TV series, analyzing the root of the reflected issues of modern society, and trying to put forward some valuable conclusions and solutions.The thesis comprises three chapters as follow:The first chapter focuses on the various psychological problems that urbanite are suffering from and their origins. Owing to the orderly city planning and construction, urbanite’s spatial cognition was broken into fragments, which causes great disturbances to their lives and leads to the trend that people show apathy towards everything.In the second chapter, it shows that metro space, in the context of globalization, is becoming a special mode of space reproduced in different cities, which was exaggerated to be a homogeneous world in movies and series. There are a number of bodies with similar thoughts and behavior in that space too, which causes increasingly serious and common mental health problems. So the image of metro was used as a way to get rid of the problems in some movies.The objects in the last chapter are crowd and wanderers in city. Office workers, disappointed people and homeless men are the three components of the wanderers. The relationship between them and the metro expresses a change that modern people take drifting instead of inhabitation. One result is that the metro image is regarded as a temporary home for them. In a sense, the wanderers, the“flaneur”especially, are a kind of power to rebel the pressure coming from modern urban life.Both in real life and in movies, the metro has become a typical mode of space from which many social problems have been reflected. With the perspective of theories of the“spatial turn”in philosophy, sociology and cultural geography, the study on the cultural meaning of metro will find origins and solutions for the problems.更多还原