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20世纪末东西影坛一个很奇特的现象就是导演们不约而同将注意力集中在“同性恋”题材上,从六十六届获奥斯卡最佳男主角的《费城故事》,入围六十七届奥斯卡最佳外语片的李安——《喜宴》到《断背山》在奥斯卡的不俗表现,同志题材的影片又一次成为人们关注的焦点,翻开影坛的旧历,戴维．克罗伦伯格导演的《蝴蝶君》以及陈凯歌导演的《霸王别姬》也属于类似题材。由于两位导演的所处文化氛围、生活阅历的不同,两部影片在主题的表达情节的发展以及人物形象的创作上都有所不同,但影片通过不同的影像传达出的悲剧情感及题材的陌生化效果却是惊人的相似。本文试图从俄国形式主义的陌生化理论出发对两部影片进行比较和分析。
A very peculiar phenomenon in the Eastern and Western cinema at the end of the 20th century was that the directors unanimously focused their attention on the subject of “homosexuality.” From the 66th Academy Award for Best Actor to “The Story of Philadelphia,” they were nominated for the best of the sixty-seventh Oscars Foreign language film Ang Lee - “Wedding Banquet” to “Brokeback Mountain” in Oscar’s impressive performance, gay theme film once again become the focus of attention, opened the film’s Lunar New Year, David. Karen Lennberg’s “Butterfly King” and Chen Kaige’s director “Farewell My Concubine” also belong to a similar theme. Due to the different cultural atmosphere and life experience of the two directors, the two films differ in the development of the theme’s expression and the creation of characters. However, the tragedy sentiment and theme conveyed by the film through different images Unfamiliar effects are strikingly similar. This article tries to compare and analyze the two films from the defensive theory of Russian formalism.