从《客途秋恨》到《花椒之味》:香港电影中的女性身份认同流变

作为诞生于亚欧文化板块碰撞地带的“东方明珠”——香港既有国际大都市的繁华A面,也有“身世朦胧”的暧昧B面。在这一社会历史环境之下,身份的认同与找寻一直是香港文艺作品的重要命题。2019年9月上映的《花椒之味》,通过三个素未谋面的姐妹在父亲葬礼上相遇然后共同经营其父留下的火锅店的故事,表达了香港新一代女性对自己身份的再次确认。而上映于1990年的《客途秋恨》,同样是女性寻找自己身份的香港电影。通过主题传承,两个跨越了近三十年的电影文本形成了巧妙的互文,共同描绘出了三代香港女性在时代大潮中的身份认同流变历程。

From Song of The Exile to Fagara: The Evolution of Female Identity in Hong Kong Films

As the "Oriental Pearl" born in the collision zone of the Asian and European cultural plates, Hong Kong has both the bustling A side of the international metropolis and the ambiguous B side of "obscure identity". Under such social and historical environment, identity and its search have always been an important topic in the artistic works of Hong Kong. Fagara, a film released in September 2019, clearly showed the re-identification of the new female generation of Hong Kong by a story of three unknown sisters who met at the funeral of their father and then co-operated the hot pot restaurant left by him. Similarly, the film Song of The Exile released in 1990 is also a Hong Kong film of females to search their identity.Through the inheritance of the same theme,two film texts that span nearly three decades form delicate intertextuality to depict the evaluation process of identity of three generations of Hong Kong females in the tide of the times together.