关键词: 华人导演, 跨文化创作, 场域重构, 叙事创新, 认同感知

Abstract:

In the context of globalization and multiculturalism, the intercultural creative practices of ‘new generation’ Chinese directors in Hollywood have become a significant force reshaping the landscape of film culture. This paper takes Daniel Kwan Cinematic Art as a case study, focusing on his creative trajectory from Swiss Army Man to Everything Everywhere All at Once, to uncover a new paradigm of intercultural expression. Drawing on Bourdieu’s field theory, Metz’s film semiotics, and Peirce’s triadic semiotics, the study constructs a three-dimensional analytical framework of ‘cultural field—narrative innovation—identity perception’. The paper argues that Daniel Kwan employs a ‘dual buffering system’ to construct a ‘third space’ within mainstream Hollywood, facilitating the mediation and negotiation of Eastern and Western cultures. Furthermore, through a strategy of genre film fission, he deconstructs traditional narrative frameworks, generating ‘superconducting signs’ with intercultural penetration. Finally, by introducing a tactile semiotic system, he transcends the cultural barriers of visual and linguistic expression, reconstructing a mechanism of identity perception. The study concludes that Daniel Kwan’s creative work not only transcends Orientalism but also offers a path toward the fusion of meaning amid cultural conflicts, providing theoretical and practical insights for Chinese cinema’s creation and dissemination in a global context.

Key words: Overseas Chinese Directors, Intercultural Creation, Field Reconstruction, Narrative Innovation, Identity Perception