摘要
《末代皇帝》不仅是一部关于中国封建王朝末代皇帝的个人传记,更是一部充满后殖民意识的电影作品,它通过特定的叙事策略和视觉表达反映了西方对东方世界的想象与塑造,呈现了东方文化在后殖民主义下的自我认同与抗争。基于后殖民主义电影批评模式对该影片进行分析,挖掘影片中的建筑空间符号、道具符号、人物符号的历史文化内涵与跨文化后殖民语境的复杂性和多元性,有助于理解后殖民主义电影批评理论在电影分析中的实际应用,为后殖民主义电影批评模式的发展提供新的视角和方法。
The Last Emperor is not only a personal biography of the last emperor of a feudal Chinese dynasty,but also a film work full of postcolonial consciousness,which reflects the Western imagination and shaping of the Eastern world through specific narrative strategies and visual expressions,and presents the self-identification and resistance of the Eastern culture under postcolonialism.Based on the postcolonial film criticism mode,the film is analyzed to explore the cultural connotations of the spatial symbols,prop symbols and character symbols in the film and the complexity and plurality of the cross-cultural postcolonial contexts,so as to understand the practical application of the postcolonial film criticism theory in the film analysis and provide new perspectives and methods for the development of the postcolonial film criticism mode.
作者
黄宇恬
Huang Yutian(School of Humanities,Hunan University of Science and Technology,Xiangtan,411201,China)
出处
《语言与文化研究》
2025年第3期262-265,共4页
Language and Culture Research
作者简介
黄宇恬(2001-),女,湖南科技大学在读硕士研究生。研究方向:中国现当代文学。E-mail:2321595064@qq.com。
