上海视觉

上海视觉 ›› 2026, Vol. 0 ›› Issue (1): 123-128.

• 艺术批评 • 上一篇    下一篇

黑色电影中“城中村”的空间建构及文化隐喻

杨文秀1,2, 赵海龙1,2   

  1. 1.兰州大学， 兰州 730000
    2.洛阳师范学院， 洛阳 471000
  • 出版日期:2026-01-20 发布日期:2026-03-30
  • 作者简介:杨文秀（1983— ），女，兰州大学文学院讲师，北京师范大学文学博士。研究方向为中国电影史论、影视批评。
    赵海龙（1983— ），男，洛阳师范学院讲师，影视编剧，南京师范大学文学硕士。研究方向为影视产业、影视创作。

The Spatial Construction and Cultural Metaphor of "Urban Villages" in Film Noir

YANG Wenxiu1,2, ZHAO Hailong1,2   

  • Online:2026-01-20 Published:2026-03-30

RichHTML

2

PDF (PC)

10

赞

摘要：

“城中村”作为中心—边缘冲突的场域，在黑色电影中常常成为秩序、规训之外的法律真空地带。以《风中有朵雨做的云》《南方车站的聚会》为代表的本土黑色电影以“城中村”为典型空间，折射出城市跨越式发展带来的短板。游走在“城中村”的边缘群体承受着发展时差带来的创伤，参与空间争夺，成为霓虹景观下叵测命运的一环。“城中村”空间复杂社会生态的呈现，揭示出城市发展中野蛮、非理性的一面。

关键词: 黑色电影, “城中村”, 中心—边缘冲突, 发展时差, 霓虹景观

Abstract:

Urban villages, as sites of center-periphery conflict, frequently manifest as lawless zones existing outside established order and discipline in film noir. Localized crime narratives represented by Cloud in the Wind and The Wild Goose Lake utilize urban villages as emblematic spaces, highlighting the adverse consequences of cities' leapfrog development patterns. Marginalized populations navigating these urban villages experience trauma stemming from temporal disparities in development, engage in spatial competition, and become entangled in unpredictable fates beneath the neon landscape. The portrayal of complex social ecologies within urban villages exposes the barbaric and irrational dimensions of urban development processes, offering a critical lens through which to examine contemporary urbanization challenges.

Key words: Film noir, urban villages, center-periphery conflict, temporal disparities in development, neon landscape

版权所有 © 上海视觉