原初的激情

用戶評(píng)論 (總計(jì)7條)

•   　　Rey Chow's writing, as well as the binding of the book is so beautiful and thought-provoking! Self-identified as barbarian foreigner from colonial Hong Kong, Rey deconstructs the "invisible violence" of the viciously circular emotional complex that she describes as "primitive passions."
  　　
  　　Here I'm quoting some spark notes from the Chapter - Decentering the Sign "China"
  　　
  　　Decentering the Sign "China"
  　　
  　　P48 Chinese film has moved beyond the Fifth generation: the emotions peculiar to the generation of directors who, as youths, lived through the Cultural Revolution are no longer those that plague the new filmmakers of the 1990s.
  　　
  　　P49 Films of the 1980s and early 1990s deserve special attention for several major reasons: First, they represent some courageous efforts in reconceptualizing 概念重建 film culture when making good films is still very difficult in China. Second, they continue to signify a much-needed general resistance toward the domination of media representation by the Chinese government, which since June 4, 1989, has been enthusiastically sponsoring big-budget movies about communist revolutionary history, military achievements, and heroic figures. Third, these films are instructive as ways of deconstructing a cultural centrism of which they, as well as many of their evaluators, are in fact a part.
  　　
  　　The "primitive" is not only a central part of repressive official discourse but also a prevalent and pervasive obsession that structures the very "oppositional" critiques of official discourse we have seen in the majority of Chinese films and criticism to date.
  　　
  　　Chinese film directors' obstinate discourse of nativism against acculturation.
  　　
  　　Chinese intellectuals often say that "China" is beyond what "Foreigners" can understand; it is not that foreigners cannot understand "China" but that "China" is that ultimate something - that ultimate essence beyond representation.
  　　
  　　P50 It's a commonplace that Chinese intelligentsia has had a more compliant attitude toward totalitarianism than intelligentsia in Eastern Europe.
  　　
  　　The current situation in the People's Republic of China, in which the earlier forms of brutal military violence is increasingly replaced by a repressive, invisible violence partaken of by intellectuals themselves, a "velvet prison," a prison with an aesthetic all of its own.
  　　
  　　P51 The "velvet prison" is the name not only of Chinese intellectuals' complicity, through self-censorship, with the Chinese government's authoritarianism inside China, it is also the sign of Chinese intellectuals' indifference toward China's imperialism vis-a-vis peoples who are peripheralized, dominated, or colonized by mainland Chinese culture, in places such as Tibet, Taiwan, and Hong Kong.
  　　
  　　Preoccupied only with China's "victimization" and "marginalization" vis-a-vis the West, contemporary Chinese intellectuals, in particular many of those from the People's Republic, specialize in cultivating the form of primitive passion that is sinocentrism 大中國(guó)主義 or Chinese chauvinism.
  　　
•   　　我得承認(rèn)讓我來寫這整本書的書評(píng)那是絕對(duì)不可能的。我相信其實(shí)作者的基本觀點(diǎn)是很明確的，但為何寫作和論證過程會(huì)顯得如此繁復(fù)，如此光怪陸離，如此玄乎其玄呢？這個(gè)問題我自己的答案大約是我不是這門學(xué)科中的人，不精也不習(xí)慣于此，何況作者本身還強(qiáng)調(diào)本書具有跨學(xué)科的意義（只是從我個(gè)人感覺角度上來說，我覺得很多內(nèi)容怎么看都有點(diǎn)扯淡，所以我也只能說我的確不是此中人）；其二，我想我和翻譯者也很難磨合。她呈述出來的周蕾的東西使我已經(jīng)不敢再去看原文。不想講這里面的緣由了。
  　　
  　　大體上翻了翻該書，詳讀了第一部分和第二部分第一章，接下去就“不忍卒讀”了，但這是在同情我自己。第一部分總體而言還是給我一些啟發(fā)的，所以我也愿意給一個(gè)推薦的星級(jí)，鼓勵(lì)那些該學(xué)科內(nèi)的人努力鉆研解讀它。這里也只是寫寫那些對(duì)我有所啟發(fā)的點(diǎn)。
  　　
  　　對(duì)我而言最為重要的啟示是周蕾在該中文版第25頁寫到，視覺意象不具備書寫文字所特有的內(nèi)化與抽象性，它是一種在不同系統(tǒng)下運(yùn)作的指涉模式。這句話有比較多的術(shù)語不太懂，比如指涉模式這樣的東西；但如果我沒有理解錯(cuò)誤的，根據(jù)上下文的貫穿的想法出發(fā)，簡(jiǎn)單的說，視覺意象可以被觀察者多樣化的闡釋。從魯迅看幻燈片（內(nèi)容是魯迅對(duì)外宣稱，或至少目前的許多當(dāng)代文學(xué)史研究認(rèn)為他棄醫(yī)從文是因?yàn)橐淮谓?jīng)歷，在日本學(xué)習(xí)時(shí)看到幻燈片上中國(guó)民眾麻木地看著自己的同胞死在敵人的刀槍下無動(dòng)于衷，由此他認(rèn)為更重要的是用筆喚醒中國(guó)人的精神）一例中，作者認(rèn)為魯迅的解釋本身已是一種企圖用語言來敘述無聲的視覺事件的嘗試（作者認(rèn)為無聲視覺意象本身可以被多方解讀，并不會(huì)只有一種解讀方法和內(nèi)容，而魯迅表達(dá)出他對(duì)這個(gè)無聲視覺意象的感覺事實(shí)上是他本人已經(jīng)在做詮釋了）。作者由此認(rèn)為媒體作為中介的力量，（我以為部分可以作為多元感情的載體，為不同人的解讀提供文本材料），（又）可以放大擴(kuò)大視覺沖擊力，加劇意象造成的感情印象，比如說魯迅可能早已認(rèn)識(shí)到中國(guó)人的"麻木",但幻燈的意象加深了這種印象，促使他采取行動(dòng)。
  　　
  　　另外一個(gè)比較重要的點(diǎn)，與作者論點(diǎn)相關(guān)的是，周蕾認(rèn)為東西方關(guān)系中“原初主義”問題不僅限于西方對(duì)非西方的剝奪，更是在形式創(chuàng)新上表明文化生產(chǎn)的等級(jí)關(guān)系。第三世界“現(xiàn)代化”的過程實(shí)際是“原初化”的運(yùn)動(dòng)過程（這個(gè)是我理解得出的，也許作者并無明確是這個(gè)意思。。），將原始材料或受壓迫階級(jí)的素材攫取來呈述新的觀念。她認(rèn)為中國(guó)知識(shí)分子并非受“啟蒙”后選擇以關(guān)注受壓迫階級(jí)來革新其寫作，而是他們發(fā)現(xiàn)弱勢(shì)群體中有他們迷戀的源泉，能夠幫他們?cè)谥黧w和形式上激活，復(fù)興其文化生產(chǎn)，使之“現(xiàn)代化”。事實(shí)上，這個(gè)觀點(diǎn)似乎在之后的幾篇關(guān)于中國(guó)電影的評(píng)述中都得到闡述，但應(yīng)該遠(yuǎn)不只此。
•   尼克布朗有篇文字評(píng)論過 你所謂周蕾的“扯淡”，他的中心論是針對(duì)周蕾的電影人種志。主觀覺得現(xiàn)在的電影評(píng)論沿著西方批評(píng)路數(shù)，模式化好嚴(yán)重，真的是好難讀，亂七八糟的語言，或者是翻譯的問題吧。
•   好段時(shí)間沒讀文化研究的東西了,比較生疏...有空再看看在給反應(yīng)....
•   翻譯真是看得讓人想哭啊。港式翻譯，特別別扭，海德格爾還要說成海德格，哎喲個(gè)親娘誒
•   她的東西就是挺扯的，我常常感覺她分析的文本跟我看的文本不是一個(gè)東西。她是典型的以所謂”理論“見長(zhǎng)的學(xué)者，之所以這么有名，一個(gè)原因是海外搞中國(guó)電影和文學(xué)的學(xué)者一般不這么”理論“。
•   哦...

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