摘要
昆汀·塔伦蒂诺的新作《好莱坞往事》延续了其一贯的流行文化互文和拼贴风格,将黄金时代好莱坞的影像记忆穿插于曾经的都市景观想象中,打造出一幅充满怀旧气息的人文景观。透过人物视点,曾经的都市风景被呈现为一幅流动的“电影绘图”,浸润着浓厚的物恋想象。通过展现昔日的电影辉煌,影片呼唤着迷影精神的延续。而影片对女性形象的两极化书写则体现了劳拉·穆尔维的“幻想地形学”,在怀旧景观的衬托下,勾起了一种独特的物恋幻想空间。
Quentin Tarantino’s latest film,Once Upon a Time in Hollywood,continues his cinematic style of intertextual collage: by juxtaposing a wide variety of cinematic,architectural,and musical elements,the film portrays a 1960 s cultural landscape full of nostalgic appeal. Through the cinematic glory of the past,the film appeals to the cinéphilia of the modern audience. From the perspective of the main characters,the cityscape is presented as a mobile"cinematic mapping",and imbued with a strong touch of nostalgia. In the meantime,through the female body spectacle of the heroine,Sharon Tate,the film expresses what Laura Mulvey calls the "phantasmatic topography".Thus,the cultural landscape becomes an object of aesthetic fetishism,and functions as a psychological compensation for the current cultural crisis.
出处
《浙江艺术职业学院学报》
2021年第1期52-56,共5页
Journal of Zhejiang Vocational Academy of Art
作者简介
林伟(1982-),男,安徽和县人,广州中医药大学外国语学院英语讲师,主要从事电影研究、文化研究、英美小说研究。(广州510403)。
