战后香港文化身份探寻:李铁与"中联"电影艺术风格
Exploring Hong Kong's Cultural Identity after the War:Lee Tit and the Artistic Style of The Union Film
周子恒 1方睿澜1
作者信息
摘要
作为中联电影公司创办人之一,李铁在香港粤语电影的黄金时代有过诸多佳作,在香港电影史上具有承上启下的重要意义.他与"中联"的制片方针、创作实践及文化想象都集中反映了香港知识分子在战后文化"冷战"的氛围下,踯躅于传统与现代的矛盾心境.李铁的电影创作不仅是出于制作者的自觉,更可被视为是对香港文化身份的一种影像化探索,在保守中国传统伦常的同时,灵活吸收意大利新现实主义与好莱坞类型片的美学风格,逐渐形成了香港本土现实主义美学.
Abstract
As one of the founders of The Union Film,Lee Tit has produced many Cantonese films,which are of great significance in Hong Kong film history.His creative practice and cultural imagination reflect the contradictory state of mind of Hong Kong intellectuals who are hesitating between tradition and modernity in the post-war.While preserving Chinese traditional ethics,Lee Tit's film creation flexibly absorbs and develops the aesthetic style of Italian neorealism and Hollywood genre films,gradually exploring the local realist aesthetics.This is not only a self-consciousness as a filmmaker,but also a visual exploration of Hong Kong's cultural identity as a local intellectual.
关键词
李铁/"中联"公司/粤语电影/香港左翼影人/文化身份Key words
Lee Tit/The Union Film/Cantonese films/Hong Kong left-wing filmmakers/cultural identity引用本文复制引用
出版年
2024
NETL
NSTL
万方数据