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英语学界中的谢晋电影研究经过了三十余年的发展,研究中存在三种常见的方法论模式:社会—文化批评,情节剧类型研究以及重组中国传统文化符码的阐释方法。三种方法论模式虽然选择不同的理论作为阐释基础,在选择文本对象时却不约而同地集中关注谢晋电影中呈现当代政治主题的作品。除了趋同的视点选择之外,有些研究还不同程度地表现出潜在的东方主义症候,包括跨文化解读中的意识形态成见和论述中的整体主义/本质主义偏差等。由此不仅导致研究本身的方法论矛盾,而且导致对“中国影像”的误读以及对“影像中国”的想象性重建。
There are three common methodological models in the study of Xie Jin’s films in the English academic circles. Thirty years of research have been made in this field: socio-cultural criticism, melodrama type studies, and methods of interpreting Chinese traditional cultural codes. Although they chose different theories as the basis for their interpretation, the three methodological modes invariably focus on the contemporary political themes in Xie Jin’s films when choosing textual objects. In addition to the convergence of choice of perspectives, some studies also show potential oriental symptoms to varying degrees, including the ideological prejudices in cross-cultural interpretation and the omission of holism / essentialism in the essay. This not only leads to the methodological contradiction of the research itself, but also leads to the misunderstanding of “China Video” and the imagination reconstruction of “Image China”.