摘要
韩国电影和香港电影,在不同的时间节点代表亚洲电影产业的最高水平,二者的关系亦师亦友。新世纪以来的韩国犯罪片,在样式上承袭诸多香港电影的经典桥段与范式合集——局促空间、“警察”符号、阴冷色调;但它并没有因为与香港电影同处泛亚文化圈的优势性地位,利用地缘、文化的相似性简单套用港式警匪片、黑帮片、犯罪片的类型经验与美学风格,反而基于民族历史、社会现实做出创见性的改造,以“法制反思”作为类型经验基础,进而在整体上形成冷峻、凌厉的美学特征,与讲求“人治”且带有浪漫主义温情色彩的香港电影形成巨大反差。
Korean films and Hong Kong films respectively represent the highest level of Asian film industry at different time nodes,and the relationship between them is both friendship and division.Especially in the new century Korean crime films,we can see the collection of many classic scenes and paradigms of Hong Kong films,as well as the strong intertextuality between them.Crime drama and valuable is that South Korea has not because pan-asia culture with Hong Kong cinema,and the use of geographical and cultural similarities directly to Hong Kong gangster movies,gangster,the type of crime drama experience and aesthetic style,based on the national history and social reality to make rich creative transformation,on the whole,and form a cold,sharp aesthetic characteristics,and Hong Kong movies with a romantic warmth colour a huge contrast.
作者
蔡东亮
CAI Dongliang(School of Communication,Fujian Normal University,Fuzhou Fujian 350117,China)
出处
《燕山大学学报（哲学社会科学版）》
2021年第3期51-57,共7页
Journal of Yanshan University:Philosophy and Social Science
关键词
韩国犯罪片
香港电影
人治反思
法制反思
Korean crime film
Hong Kong film
reflection on the rule of man
reflection on the rule of law
