- 期刊
關於賈樟柯電影：高度經濟發展裡的「底層敘述」
On Jia Zhangke's Films: ＂The Lower Depths＂ Narration in the High Economic Growth
摘要
賈樟柯（1970〜）導演在創作第一部作品《小武》（1998）與第二部作品《月臺》（2000）時，將舞臺放在陝西省汾陽這樣一個「縣城」來「發現」了當代中國大陸的「底層社會」。此後，他在張藝謀導演等「大片時代」裡面，一直著力表現《世界》（2004）、《三峽好人》（2006）等高度經濟發展中中國大陸社會的光與影。《天註定》（2013）講述了四位男女，在經濟快速增長的社會中，由於政治腐敗與貧富差距，導致地域關係、血緣關係遭到破壞，愛與希望被剝奪而走向殺人與自殺的故事。賈導演的底層敘述可以說在《天註定》中達到了一定的高度。但是《山河故人》（2015）從底層敘述轉型到emigrant（亡命、移民）敘述，其中，底層階級仰仗著資產階級的憐憫而勉强生存。這與《三峽好人》中的三明，想靠在山西煤礦賺錢而救在三峽做奴隸的前妻出來的活法，形成了鮮明對比。賈導演從《小武》開始的底層敘述，至《山河故人》呈現了巨大的變化。
並列摘要
Jia Zhangke in his first film ＂Pickpocket、Xiao Wu＂ (1998)and second film ＂Platform＂ (2000)discovered ＂The Lower Depths＂ of contemporary Mainland China. He kept shooting those films like ＂World＂(2004) and ＂Still Life＂ (2006) and depicted light and shadow in the high economic growth. ＂A Touch Of Sin＂ (2013)narrates four men and woman who commit murders or suicide in the social environment of political corruption, disparity in wealth, and breakdown of territorial and blood connections. ＂A Touch of Sin＂ could be regarded as the summit of Jia's narration of ＂The Lower Depths＂. But in the ＂Mountains May Depart＂ (2015), Jia changed his ＂The Lower Depths＂ narration into emigrant narration, and in this film one of the heroes who is from The Lower Depths class surviver under the mercy of the captalists. Jia'snarration shows a great change in this film.