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本文分析三部香港独立电影《惑星轨迹》《唱盘上的单行道》《N+N》中以街道漫游者为主体的空间实践。在全球资本主义高度发展的香港,城市空间的使用日益掌握在发展商与地产商手中,其意义和使用方式多出于经济利益的考量。三部电影都通过漫游的实践介入香港的城市空间。它们一方面借助漫游者的批判精神,共同地反思了城市空间单一的经济意义,另一方面又各自发挥了漫游者的情感能力、历史思维与政治勇气,分别重构了城市空间在情感、历史、政治等不同维度的可能的丰富意义。三部影片共同体现了香港独立电影的“反公共”特质,为观众提供了与主流电影不同的城市景观。
This article analyzes the spatial practice of street rovers in the three Hong Kong independent films The Wayside Tracks, One Way On The Soundtrack, and N + N. In Hong Kong, where global capitalism is highly developed, the use of urban space is increasingly being held in the hands of developers and real estate developers. Its meaning and use are mostly based on economic considerations. All three films are involved in Hong Kong’s urban space through the practice of roaming. On the one hand, with the critique of rovers, they both reflect the single economic significance of urban space, on the other hand, they each play the rover’s emotional ability, historical thinking and political courage, and reconstruct the urban space in emotion, history , Political and other dimensions of the possible rich meaning. Together, the three films reflect the “anti-public” nature of Hong Kong’s indie film, providing spectators with a different urban landscape than the mainstream film.