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| January 2009 |
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7 |
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| 研究論文Research Articles |
| 跨地域性與「無地域空間」：全球化語境 中的華語商業電影 |
| Translocality and “Non-Locality”: Globalization and Chinese Blockbusters |
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(4409)
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| 作者 |
孫紹誼 |
| Author |
Shaoyi SUN |
| 關鍵詞 |
全球化、華語商業電影、無地域空間 |
| Keywords |
globalization, Chinese blockbusters, non-locality |
| 摘要 |
本文以吉登斯、湯林森和阿帕杜萊等關於全球化問題的思考為關照，考察了近年來漸成氣候的「華語大片」現象。文章認為，與韓國電影、日本動畫相似，「華語大片」的跨境生產、發行和消費主要通過作者所稱的「無地域空間」生產達成。所謂「無地域空間」，指的是某些超越文化和地域特質、或被抽去原地域或文化因素的空間符號和某些具有空間超越性的「普世」議題。在空間之前冠以「無」的修飾詞，並非指其子虛烏有，不能被感知、觸摸或體驗，而是意在顯示此類空間的無名性、去地域性、普世性。此類空間的突出特徵乃是其「可移植性」，既在某種程度上形成對原空間滑動和隱喻的指涉，又能夠超越與原空間的含混指說關係、經「移植」後被異地域文化所消費。 |
| Abstract |
Reviewing theories of globalization proposed by Anthony Giddens, John Tomlinson, and Arjun Appadurai, this article argues that, similar to the rise of Korean cinema and the global fascination with Japanese anime, the logic behind the cross-border production, distribution, and consumption of the socalled “Chinese blockbuster” follows what the author calls “the production of non-locality”. The term “non-locality” refers to those spatial signs that are not closely bound by specific culture and locality or have exhausted their original meanings bound by locality and culture. It also points to those “universal” themes or concerns that could possibly travel beyond national boundary. “Nonlocality” does not mean something that is non-existent, intangible or invisible. Rather, it refers to a locality that could be described as nameless, de-localized, and universalized. The characteristic of this “de-localized” locality lies in its “transportability”. To a certain degree, it still keeps its slippery and metaphorical relation with its origin, but more importantly, it is able to be “transported” to another culture and ready to be consumed. |
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| No.67 2024 January |
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| No.66 2023 October |
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| No.65 2023 July |
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| No.64 2023 April |
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| No.63 2023 January |
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