【摘要】：馮小剛電影是書寫中國底層經驗"當代性"最具有標志性意義的。而《我不是潘金蓮》以獨特的視角,以"社會互文本效應"將李雪蓮普通的民間訴求演變為"民告官"的荒誕鬧劇,直接介入當下國民生存的精神境遇與社會心理狀態,從而言說底層經驗的"當代性"。在此過程之中,通過對現實語境的轉換和對照,形成了"鄉土"與"現代"的極端表達,凸顯了個體生存境遇與價值追尋的尷尬與無奈,構成了獨特的審美特征和藝術價值。
[Abstract]:Feng Xiaogang's film is the most iconic one in writing the contemporary experience of China's bottom-level experience. "I am not Pan Jinlian" with a unique angle of view, with "social mutual text effect", Li Xuelian's ordinary folk demands are transformed into the absurd farce of "people suing officials", and directly involved in the spiritual situation and social psychological state of the people's existence. In order to speak of the bottom of the experience of the "contemporary". In this process, through the transformation and contrast of the realistic context, the extreme expression of "native land" and "modern" is formed, which highlights the embarrassment and helplessness of individual living circumstances and pursuit of value, and constitutes a unique aesthetic characteristic and artistic value.
【作者單位】： 西安培華學院文學院;
【分類號】：J905
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本文編號：2369556