李杨《盲系列三部曲》影像中的底层叙事
自“五四”以来，中国知识分子以底层叙事为底层群体发声，表现出知识分子社会责任感和对底层的关怀。90年代，中国经济的快速发展，“底层”问题得以凸显。本文以李杨的《盲系列三部曲》——《盲井》《盲山》《盲·道》为研究对象，探讨李杨呈现了底层的生存境遇，以及他如何通过影像表达主旨。此外，本文还将探讨李杨《盲系列三部曲》的局限性。Chinese intellectuals have used the underclass narrative to give voice to the underclass since the May Fourth Movement, demonstrating their...
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| Format: | Final Year Project |
| Language: | Chinese |
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Nanyang Technological University
2022
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| Online Access: | https://hdl.handle.net/10356/155735 |
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| Institution: | Nanyang Technological University |
| Language: | Chinese |
| Summary: | 自“五四”以来，中国知识分子以底层叙事为底层群体发声，表现出知识分子社会责任感和对底层的关怀。90年代，中国经济的快速发展，“底层”问题得以凸显。本文以李杨的《盲系列三部曲》——《盲井》《盲山》《盲·道》为研究对象，探讨李杨呈现了底层的生存境遇，以及他如何通过影像表达主旨。此外，本文还将探讨李杨《盲系列三部曲》的局限性。Chinese intellectuals have used the underclass narrative to give voice to the underclass since the May Fourth Movement, demonstrating their sense of social responsibility and concern for the underclass; in the 1990s, the rapid development of China's economy brought the issue of the "underclass" to the fore. This dissertation examines how Li Yang depicts the underclass's survival predicament and how he conveys it via his imagery in his “Blind” series, which includes Blind Shaft, Blind Mountain, and Blind Way. In addition, the limitations of Li Yang's Blind Series Trilogy will also be discussed in this paper. |
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