澳洲艺术学论文代写:香港文化

澳洲艺术学论文代写:香港文化

总的来说,香港文化是在殖民统治和自由资本主义的基础上繁荣发展起来的。从二十世纪六十年代至今,香港经济空前繁荣。原来的转口贸易港已转变为大型现代化工商业城市。然而,由于香港特殊的社会制度和海岛地位,人们普遍缺乏民族观念和归属感。在文化上,香港人无法与传统文化保持一致。在这种情况下,出现了岛型无根文化现象。在香港被殖民的100多年历史中,香港形成了东西方文化交融的文化特色(Teo, 2005)。由于它与西方世界的接触日益频繁,东西方文化相互渗透、相互碰撞,传统文化与现代文化交融。在此背景下,香港人开始自觉不自觉地思考中国大陆的文化传统,积极解构自己的历史和传统古典文化,从新的角度重新组织香港的文化意识。在王家卫导演的电影中,这些属于香港和西方60年代的元素,着实让人惊叹,对遗忘和记忆的无止境追求,敏感地触动着人们的神经。

澳洲艺术学论文代写:香港文化
王家卫作为香港“第二波新浪潮”中的重要人物,从1990年的《狂野岁月》到2000年的《花样年华》,他在影片中通过选取的素材、人物、时间等间接反映了他对香港身份的认同和执着。-《东西方电影》,魏世玉,2014。著名导演之一的香港电影在1990年代,黄Karwai形成其独特的艺术风格通过独特的电影语言和处理体现了他作为导演奇妙而独特的艺术世界和“作者”的香港电影,从托尼,瑞恩和李Daoxin当代电影杂志。上世纪90年代,香港并不具备产生后现代社会和后现代思潮的历史渊源,但其生机勃勃的流行文化或大众文化却与后现代主义的反智、反精英气质不约而同。香港作为一个商业和金融中心,自20世纪60年代以来,经历了经济的迅猛发展。

澳洲艺术学论文代写:香港文化

Generally speaking, the culture of Hong Kong flourishes on the basis of the colonial rule and liberal capitalism. From the 1960s up to now, the economy of Hong Kong has been unprecedentedly prosperous. The original entrepot trade port has transformed into a large-scale modern industrial and commercial city. However, the people generally lack national concept and a sense of belonging due to the special social system and seagirt island position of Hong Kong. Culturally, people in Hong Kong fail to keep in line with traditional cultural vein. In this case, the phenomenon of island-type rootless culture appears. In the history of more than 100 years when Hong Kong was colonized, Hong Kong formed mixed cultural characteristics combining eastern culture with western culture (Teo, 2005). It blended traditional culture and modern culture because of its increasingly frequent contact with the western world and inter-collision with mutual penetration between eastern and western culture. Against this background, Hong Kong people started to consciously and unconsciously think about the cultural traditions of Mainland China, actively deconstruct their history and traditional classical culture and reorganize the cultural consciousness of Hong Kong from a new perspective. In the films directed by Karwai Wong, these elements, which belong to Hong Kong and the 1960s of the western world, really amaze people and the endless pursuit of oblivion and memory sensitively touch the nerves of people.

澳洲艺术学论文代写:香港文化
As an important figure in “the second new wave” of Hong Kong, Karwai Wong obliquely reflects his identification and obsession with Hong Kong identity through selected materials, characters, time and so on in his films from Days of Being Wild in 1990 to In the Mood for Love in 2000. –‘Cinema in east and west’, Shiyu Wei, 2014.As one of well-known directors of Hong Kong films in the 1990s, Karwai Wong forms his distinctive artistic style through the unique handling of film language and embodies his wonderful and unique artistic world as a director and “author” of Hong Kong films, which is from Tony, Ryan and Li Daoxin in the magazine Contemporary Cinema.In the 1990s, Hong Kong was not equipped with the historical origin of producing postmodern society and postmodern trend of thought, but its vibrant popular culture or mass culture happened to hold the same view with the anti-intellectual and anti-elite temperament of postmodernism. As a business and financial center, Hong Kong has witnessed the dramatic development of economy since the 1960s.

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