标题: | 《十年》与香港后雨伞情感政治 |
作者: | 麦乐文 |
关键字: | 情感/情绪;情感管理;雨伞运动;香港电影;Emotion;Emotion management;Umbrella Movement;Hong Kong cinema |
公开日期: | 1-十月-2020 |
出版社: | 国立阳明交通大学出版社 National Yang Ming Chiao Tung University Press |
摘要: | 《十年》是关于香港未来的电影拍摄计划。由于碰触了尖锐的政治议题,电影公映初期受传统商业发行机制以各种理由排斥、抵制,只在少数院线上映,仅有的播放影院甚至在高票房情形下突然落画。电影团队后转而与民间团体合作,举行社区放映活动,以非主流的方式流通,却取得了主流电影评奖体制的肯认-香港电影金像奖最佳电影。当电影被《环球时报》批评“《十年》导演们宣扬绝望”、“在这座城市里扩散焦虑”,不少“进步”评论人同样认为影片流于情绪抒发而无助建立香港主体性,对立的政治立场吊诡地同以情绪之名进行批评,正好指向了可能的介入路径-情感的政治。《十年》作为电影文本固然是情感的中介,当文本在不同场域、社会机制流通时所产生的各种论述,同样是情感流通的过程、环节之一,当中的抵抗与斡旋不仅指向《十年》本身,同时打开了讨论当下香港文化政治的空间。本文将重构《十年》的流通脉络,借助阿赫美(Sara Ahmed)、威廉斯(Raymond Williams)、布朗(Wendy Brown)等理论资源,探讨文本及其流通的情感逻辑,尝试寻求后雨伞香港文化政治的另类理解。 Ten Years is a cinema project that projected imaginaries towards Hong Kong's near future. As the film engaged with sensitive political issues, it was boycotted by most of the commercial distributors in Hong Kong. However, the marginal circulation circuits marked its distinctiveness as a unique event of Hong Kong cinema. Under the intensifying political tensions, the cinemas suddenly suspended the screening of Ten Years even it had reached a surprising box office record. The team then switched to an alternative way to circulate the film by organizing community screenings with NGOs. While the film is marginalized from the mainstream distribution channels, it received "the best movie" prize from the 35th Hong Kong Film Awards which is a quasi-official institution of recognition of the Hong Kong cinema. However, once Ten Years' nomination was announced, Huanqiu Times, an official media of PRC, accused the directors of "disseminating despairs" and "spreading anxiety around the city." Surprisingly some "progressive" critics also resonated with such negative view over the "emotional" aspect of the texts. This paradox points toward a new path for critical intervention: the politics of emotions. On one hand, Ten Years serves as a medium of emotions that circulated around the society; on the other hand, discourses had been generated through the text's circulation across various fields and social institutions. Such a process also played a significant role in the production of emotions. Resistance and negotiation in this process opened up spaces for investigation of the current conjuncture of Hong Kong. As a new approach to articulate the cultural politics of "post-Umbrella Movement," inspired from Sara Ahmed, Raymond Williams and Wendy Brown's theoretical thinking on emotions, this paper first reconstructed the context of the circulation and then deploy textual analysis of the emotions of Ten Years. |
URI: | http://dx.doi.org/10.6752/jcs.202010_(31).0005 http://hdl.handle.net/11536/158027 |
ISSN: | 1816-0514 |
DOI: | 10.6752/jcs.202010_(31).0005 |
期刊: | 文化研究 Router: A Journal of Cultural Studies |
Issue: | 31 |
起始页: | 115 |
结束页: | 150 |
显示于类别: | Router: A Journal of Cultural Studies |
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