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李安的流散观跟西方主流学说的不同之处在于,他意识到即使在所谓“后民族—国家”时代,流散个体与国家之间仍然存在着一种矛盾的共生关系,进而对流散主体超越国家的可能性表示质疑。这一观点影响了李安在电影《色戒》中的审美设计及其对历史的重新书写。《色戒》的叙事结构基于一个“生存即表演”的隐喻。电影通过描述女主人公一系列的“表演”行为,揭示个体身份——即社会角色——的构成不可避免地受到国家意志的规定,并且这一规定因导致个体的身心割裂而使得自我的主体性无从建立。女主人公最后试图以抛弃面具的“反表演”手段终止这种割裂,然而却为此付出了死亡的代价。电影的结局折射出李安对于流散主体既难以摆脱国家羁绊又无法重归家园这一现实的历史反思。
Differences between Ang Lee’s view of exile and Western mainstream theory lie in the fact that he realized that even in the so-called “post-national-state” era, there still exists a contradictory symbiotic relationship between the individual dispersed and the state, The subject is beyond the country’s possibility to question. This view influenced Ang Lee in the movie “Lust Caution” aesthetic design and its rewriting of history. The narrative structure of “Lust, Caution” is based on a metaphor of “survival is performance.” By describing a series of “performance” acts of the heroine, the film reveals that the constitution of individual identity - that is, social role - is inevitably subject to the will of the state, and this provision leads to the self Subjectivity can not be established. Finally, the heroine tries to put an end to such separation by “disguising” masquerading as a mask, yet at the expense of death. The ending of the movie reflects Ang Lee’s realistic historical reflection on the fact that the dispersed main body can hardly get rid of the national bond and can not return to its homeland.