摘要
在杨德昌电影中,从威权到消费时代的父子认同,均呈现出角色反向与界限模糊的面目。在自我中心主义的取舍中,成熟稳重的父辈逆行童稚,秉性稚嫩的子辈却成熟奋起,凸显为童稚的灵光。父辈与子辈的张力书写,共同彰显出童稚与文明关系中的现代性突围。
In Edward Yang's films,father and son are portrayed with their roles reversed and their identity obscured in both authoritarian and consumption ages. Fathers adopt egocentrism and behave childishly,while tender sons show great maturity. Such portrayal of fathers and sons exhibits the confrontation between childishness and modernity.
出处
《郑州师范教育》
2015年第3期82-87 96,96,共7页
Journal of Zhengzhou Normal Education
关键词
杨德昌电影
父子
童稚
现代性
Edward Yang's films
father and son
childishness
modernity
