The Exotlc Narratlve In Transnatlonal Films: Case Study of Spy Films Produced in the New Century
The Exotlc Narratlve In Transnatlonal Films: Case Study of Spy Films Produced in the New Century
Shanghai University
2018年2卷第1期 页码:48-61
纸质出版日期:2018,
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CHEN Yu. (2018). The Exotlc Narratlve In Transnatlonal Films: Case Study of Spy Films Produced in the New Century. 批评理论(英文版), 2(1), 48-61.
CHEN YU. (2018). The Exotlc Narratlve In Transnatlonal Films: Case Study of Spy Films Produced in the New Century. Critical Theory, 2(1), 48-61..
CHEN Yu. (2018). The Exotlc Narratlve In Transnatlonal Films: Case Study of Spy Films Produced in the New Century. 批评理论(英文版), 2(1), 48-61.DOI:
CHEN YU. (2018). The Exotlc Narratlve In Transnatlonal Films: Case Study of Spy Films Produced in the New Century. Critical Theory, 2(1), 48-61.. DOI:
The Exotlc Narratlve In Transnatlonal Films: Case Study of Spy Films Produced in the New Century
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摘要
Abstract
The research of exotic images needs to break the limitation of conservative native culture. This research should come through international comparison and on the grounds of intersubjectivity. The biggest characteristic of skyfall is the "post-cold war" narrative which is not as simple as an "adventure in a foreign narrative"
but also contains one of the "suffering in the homeland". It reconstructs the standing on cultural vision of multiculturalism and dialogism into a perspective of singleness and self-domination. Although the temporal setting of the South Korea film
The Berlin file
is set during the reign of Kim Jong-Un
the whole story still enclosed in a Cold War atmosphere. The background setting of this film is Berlin. This film directly makes use of the unification of East and West Germany and the separation of North and South Korea as tension and constructs a complete Cold War narrative framework on this basis. The unique expatriate identity of South and North Korean agents and diplomatic officials present the landscape of Berlin in a special way: Berlin is both familiar and strange to them; it is their living and working place
not their homeland. My Lucky Star and Switch are both commercial films with international efforts containing many elements including a battle between spies
treasure stealing
and romance. The common characteristics of both are economic pursuit without political conspiracy and undertaking any strategy of eliminating "post-cold war" ideology. This kind of narrative not only meets the imagination of Chinese audiences'to foreign countries