Modern Media Studies

MMS, Vol. 2, No. 1, 2026, pp.13-23.

Print ISSN: 3078-3151; Online ISSN: 3104-5049

Journal homepage: https://www.mmsjournal.com 

DOI: Https://doi.org/10.64058/mms260102crerv

“暴力视觉美学”的跨文化重组与伦理反思：

从马尔克斯到李少红

杨洁茹（Yang Jieru），张    颖（Zhang Ying）

摘要：本文以加夫列尔·加西亚·马尔克斯的《一桩事先张扬的谋杀案》(1981）与李少红改编的电影《血色清晨》（1992）为案例，探讨暴力美学在跨文化、跨媒介转译中的审美机制与伦理指向。马尔克斯通过物质化书写、多重视角与非线性叙事，使暴力呈现为偶然、荒诞的经验，其伦理负担被消解；而李少红则借助高度形式化的镜头语言，将暴力置入“文明/愚昧”的二元框架，并赋予其社会批判意义。比较两部作品可见，暴力在转译过程中由开放走向封闭，由意义消解转为意义强化，其伦理功能亦由批判性反思转向道德裁定。这一差异不仅揭示了文学与电影的媒介特性，也折射出不同文化语境中创作者的立场与策略。

关键词：暴力美学；跨媒介转译；伦理批判；马尔克斯；李少红

作者简介：杨洁茹，广州大学人文学院硕士研究生，广州大学荔湾研究院岭南戏剧与影视研究中心学生。研究方向：比较文学与世界文学，跨媒介研究。电邮：441258840@qq.com。张颖（通讯作者），广州大学人文学院副教授，广州大学荔湾研究院岭南戏剧与影视研究中心教师。研究方向：比较文学与世界文学、视觉文化研究。电邮：miayingzhang@gzhu.edu.cn。

Title: Cross-cultural Reorganization and Ethical Reflection of “Violent Visual Aesthetics”: From Marquez to Li Shaohong

Abstract: This paper examines Gabriel García Márquez’s Chronicle of a Death Foretold (1981) and Li Shaohong’s Bloody Morning (1992) to analyze how the aesthetics of violence are reshaped through cross-cultural and cross-media translation. Márquez employs materialized writing, multiple perspectives, and non-linear narration to present violence as accidental and absurd, thereby dissolving its ethical burden. By contrast, Li Shaohong uses highly formalized visual language to situate violence within a “civilization/ignorance” binary and to assign it explicit social-critical meaning. A comparison between the two works reveals that violence shifts from openness to closure, from semantic dissolution to semantic reinforcement, and from critical reflection to moral judgment. This difference highlights not only the distinct narrative mechanisms of literature and film but also the cultural positions and strategies of their creators within divergent contexts.

Keywords: Aesthetics of Violence; Cross-media Translation; Ethical Critique; Gabriel García Márquez; Li Shaohong

Author Biographies: Yang Jieru, Master’s student at the School of Humanities, Guangzhou University, and a student at the Lingnan Theatre and Film Research Centre, Liwan Institute, Guangzhou University. Research interests: Comparative Literature and World Literature, Transmedia Studies. E-mail: 441258840@qq.com. Zhang Ying (Corresponding Author), Associate Professor at the School of Humanities, Guangzhou University, and a member of the Lingnan Theatre and Film Research Centre at the Liwan Research Institute, Guangzhou University. Research interests: Comparative Literature and World Literature, Visual Culture Studies. E-mail: miayingzhang@gzhu.edu.cn.

Received: 19 Mar 2026 / Revised: 23 Apr 2026 / Accepted: 26 Apr 2026 / Published online: 30 Apr 2026 / Print published: 30 May 2026.