世纪之交中国电影中的城市摩托青年形象

发布时间：2018-03-14 20:58

  本文选题：媒体景观　切入点：城市青年　出处：《南通大学学报(社会科学版)》2017年03期 　论文类型：期刊论文

【摘要】：以美国、香港电影为代表的媒体景观诠释了一种关于反叛精神、自由个性、英雄气概和浪漫情调的摩托车文化。这是消费社会为迎合青少年群体的心理赋予摩托车的象征意义。在世纪之交的三部中国电影《苏州河》、《北京乐与路》和《任逍遥》里,摩托车既是媒体景观介入城市日常生活的一个影像符号,也是主人公现实命运的一种折射。他们一方面参照媒体景观建构和想象自我的生活,另一方面却面临全球化所带来的困境。身处一个转型时期的城市社会,他们拒绝上一代的生活方式,转而寻求媒体景观所制造的消费幻象,却被更为现代化的城市空间所驱逐。于是他们骑着摩托车四处游荡,沦为城市社会的不安定因素。这一青年群体及其城市经验所反映的是中国社会在转型时期的一个过渡现象。
[Abstract]:The media landscape, represented by American and Hong Kong films, interprets a kind of rebellious spirit and free personality. Heroic and romantic motorcycle culture. This is the symbolic meaning given to motorcycles by the consumer society in order to cater to the psychology of young people. In the three Chinese movies at the turn of the century, "Suzhou River", "Beijing Music and Road" and "Ren Xiaoyao", Motorcycles are not only an image symbol for media landscape to intervene in the daily life of the city, but also a reflection of the protagonist's real fate. On the one hand, they refer to the media landscape to construct and imagine their own life. On the other hand, they face the dilemma brought about by globalization. In a transitional urban society, they reject the way of life of the previous generation and instead seek the consumer illusion created by the media landscape. But they are driven out by more modern urban space. They roam around on motorcycles and become unstable elements of urban society. This youth group and its urban experience reflect a transitional phenomenon in Chinese society during the transition period.
【作者单位】： 上海师范大学都市文化研究中心;
【基金】：国家社会科学基金青年项目(16CZW055)
【分类号】：J905
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本文编号：1612877