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本文关注“后九七”香港电影中的广州景观。一方面,其建构的广州景观是分化的、多元的:以《逃出生天》为代表的合拍片借助广州与香港的地理、文化亲缘关系,将广州作为香港替身,从而在合拍片框架下保留本土特色;以《树大招风》为代表的中型商业片把广州作为内地的缩影,流露了“后九七”香港的身份焦虑及渐趋激进的本土主义倾向;以《三条窄路》、《幸运是我》为代表的小成本制作则把广州作为连接香港与内地的中介,提供了新的跨境身份想象。另一方面,“后九七”香港电影中的广州景观又有一定的共同之处,那就是在不同程度上重视本土性的表达,试图在国族身份与本土身份之间寻求新的平衡。
This article focuses on the Guangzhou landscape in Hong Kong films after 1997. On the one hand, the Guangzhou landscape it constructs is differentiated and diverse: co-productions such as “Escape from Nature” are based on the geographical and cultural connections between Guangzhou and Hong Kong, using Guangzhou as a substitute for Hong Kong and thus under the co-production framework While retaining the local characteristics. The mid-sized commercial film represented by “The Tree Trickery” represents Guangzhou as a microcosm of the Mainland. It shows the identity anxiety of Hong Kong in the “post-1997” period and its increasingly radical tendency toward indigenousism. The “three narrow roads” and “ As a small-budget production represented by ”Lucky Me,“ Guangzhou regards Guangzhou as an intermediary connecting Hong Kong and the Mainland and provides a new imagination of cross-border identity. On the other hand, there is a certain commonalities between the Guangzhou landscapes of ”post 1997" Hong Kong films. That is, to varying degrees, emphasis is placed on the expression of local characteristics in an attempt to find new ways between national identities and local identities balance.