白睿文(Michael Berry),加州大學聖巴巴拉分校當代中國文化研究副教授。著有《光影言語:當代華語片導演訪談錄》(哥倫比亞大學齣版社2005,颱灣麥田2007,廣西師範大學齣版社2008)、《痛史:中國現代文學與電影的曆史創傷》(哥倫比亞大學齣版社2008,颱灣麥田2010)。譯作包括王安憶《長恨歌》(2008)、餘華《活著》(2004)、葉兆言《一九三七年的愛情》(2002)、張大春《野孩子》和《我妹妹》(2000)。
連城,公司職員,影迷,尤嗜日本電影。
The three films comprising director Jia Zhangke's 'Hometown Trilogy' - Xiao Wu (1997), Platform (2000) and Unknown Pleasures(2002) - represent key contributions to the cinema of contemporary China. The films, which are set in Jia's home province of Shanxi, highlight the plight of marginalised individuals -- singers, dancers, pickpockets, prostitutes and drifters -- as they struggle to navigate through the radically transforming terrain of contemporary China. Xiao Wu tells the story of a small-time pickpocket who faces the breakdown of his relationships with his friends, family and girlfriend. Platform, often considered Jia's most ambitious film, is an epic narrative that bears witness to China's roaring eighties and the radical transformation from socialism to capitalism. Jia's third feature, Unknown Pleasures continues his meditation on China in transition, tracing the story of two delinquent teenagers who live on a diet of saccharine Chinese pop music, karaoke, Pulp Fiction, and Coca-Cola while entertaining pipe dreams of joining the army and becoming small-time gangsters. Michael Berry's in-depth study of the three films considers them as an ambitious attempt to re-examine the transformation and fate of provincial China -- its places and people -- as it is caught up in a whirlwind of sweeping social, cultural and economic change. At the heart of the book lies a series of close readings of each of the three films; through which Berry teases out their central narrative themes, highlighting Jia's use of editing, cinematic language, and mise en scene. He pays special attention to the place of intertextuality in Jia's oeuvre, as well as the central themes of destruction and change, stagnation and movement, political verses popular culture, and, of course, the ceaseless search for home. Michael Berry is Associate Professor of Contemporary Chinese Cultural Studies at the University of California, Santa Barbara. He is the author of Speaking in Images: Interviews with Contemporary Chinese Filmmakers (2005), and A History of Pain: Trauma in Modern Chinese Literature and Film (2008). He is also the translator of several novels, including The Song of Everlasting Sorrow (2008), To Live (2004), Nanjing 1937: A Love Story (2002), and Wild Kids (2000).
發表於2024-12-31
Jia Zhangke's 'Hometown Trilogy' 2024 pdf epub mobi 電子書 下載
《鄉關何處》是研究賈樟柯“故鄉三部麯”的專著。這書名翻譯得實在貼切:既點明瞭“故鄉三部麯”的主要內容——鄉關(故鄉),又道齣瞭“故鄉三部麯”的潛在內涵——何處(“故鄉”已經迴不去瞭)。 全書除《附錄:與賈樟柯對話》外,共有五章。首尾分彆是《序麯:鄉關何處》和...
評分看賈樟柯的麵相,很難相信他還有一段混在汾陽街頭的日子,也沒法想象他會在導演這行當成大氣候。我的意思是,他沒有黑澤明的硬朗下巴,缺少小津的拳擊手體格,不戴王傢衛那般的墨鏡,連發型都不如張藝謀脆生。一次,我跟幾個朋友閑聊,假如他不拍電影,最適閤乾什麼?詩人,寫...
評分看賈樟柯的麵相,很難相信他還有一段混在汾陽街頭的日子,也沒法想象他會在導演這行當成大氣候。我的意思是,他沒有黑澤明的硬朗下巴,缺少小津的拳擊手體格,不戴王傢衛那般的墨鏡,連發型都不如張藝謀脆生。一次,我跟幾個朋友閑聊,假如他不拍電影,最適閤乾什麼?詩人,寫...
評分 評分白睿文的觀察很細膩,說理很實在,很多細節,我想都是被觀眾忽略瞭的,看瞭此書,估計還想再去看碟的人,估計不會少。連城的翻譯也很舒展,雖然有小瑕疵。 大優點:白睿文對《小武》於阿Q的對比,對人際關係的分析,觀點很新穎,有意思。對《站颱》中“城牆”和“故鄉”的闡釋...
圖書標籤: 電影 Micheal_Berry 賈樟柯 電影研究 film 視覺轉嚮 白睿文 文化研究、哲學理論
這本書寫得真流暢,除瞭作為論文參考文獻之外,我還打算用來做英文學術寫作的教材瞭,哈哈。@白睿文
評分《小武》首先追溯德·西卡和意大利現實主義美學,隨後作為魯迅文本及其精神勝利法的精神再現,《站颱》故鄉空間與城牆。
評分以賈樟柯的“故鄉三部麯”為基礎的詳細的文本分析,而白睿文的文本細讀的功底從他博士論文A History of Pain就可看齣。賈樟柯電影中,故鄉在我們眼皮底下腐朽破敗。我們見證瞭隨著人際關係、道德倫理、生活方式甚至是物質環境的解體和崩潰而來的故鄉觀念的內爆,主角幾乎不能理解這種變化,更遑論恢復它們的聯係。隨著舊日共産主義理想的衰落和全球化資本主義的來勢洶洶,賈樟柯三部麯裏的故鄉處於不斷變化的狀態中。正如李陀指齣的,盡管在他的電影中,故鄉生活的再現“是穩定的,某種意義上甚至是停滯的,又是正在現代化過程裏被瓦解和破壞的,可是……賈樟柯在這停滯和瓦解裏發現瞭某種詩意”。從另外一個角度來說,汾陽是中國社會變化的一個剪影,是本體論意義上的故鄉。
評分從社會政治經濟文化切入的拉片,理清瞭直覺背後的邏輯,是我覺得該寫但尚未嘗試寫的內容。不知道賈樟柯本人是否有考慮這麼多,我還挺買賬的,甚至幫我真正把握到瞭現代社會發展的脈絡。
評分《小武》首先追溯德·西卡和意大利現實主義美學,隨後作為魯迅文本及其精神勝利法的精神再現,《站颱》故鄉空間與城牆。
Jia Zhangke's 'Hometown Trilogy' 2024 pdf epub mobi 電子書 下載