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從《客途秋恨》到《花椒之味》:香港電影中的女性身份認同流變
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From Song of The Exile to Fagara: The Evolution of Female Identity in Hong Kong Films
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    作為誕生于亞歐文化板塊碰撞地帶的“東方明珠”——香港既有國際大都市的繁華A面,也有“身世朦朧”的曖昧B面。在這一社會歷史環境之下,身份的認同與找尋一直是香港文藝作品的重要命題。2019年9月上映的《花椒之味》,通過三個素未謀面的姐妹在父親葬禮上相遇然后共同經營其父留下的火鍋店的故事,表達了香港新一代女性對自己身份的再次確認。而上映于1990年的《客途秋恨》,同樣是女性尋找自己身份的香港電影。通過主題傳承,兩個跨越了近三十年的電影文本形成了巧妙的互文,共同描繪出了三代香港女性在時代大潮中的身份認同流變歷程。

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    As the "Oriental Pearl" born in the collision zone of the Asian and European cultural plates, Hong Kong has both the bustling A side of the international metropolis and the ambiguous B side of "obscure identity". Under such social and historical environment, identity and its search have always been an important topic in the artistic works of Hong Kong. Fagara, a film released in September 2019, clearly showed the re-identification of the new female generation of Hong Kong by a story of three unknown sisters who met at the funeral of their father and then co-operated the hot pot restaurant left by him. Similarly, the film Song of The Exile released in 1990 is also a Hong Kong film of females to search their identity.Through the inheritance of the same theme,two film texts that span nearly three decades form delicate intertextuality to depict the evaluation process of identity of three generations of Hong Kong females in the tide of the times together.

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尹敏捷.從《客途秋恨》到《花椒之味》:香港電影中的女性身份認同流變[J].重慶郵電大學學報(社會科學版),2020,32(4):137-145

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  • 收稿日期:2019-11-24
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  • 在線發布日期: 2020-08-08

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