言志与缘情:当代中国电影的诗性结构研究
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摘要
当代中国众多电影具有诗性结构再阐释的潜质。言志与缘情以扭结性共生关系隐含于当代中国电影本体理念中。中国电影的"诗言志"结构则近似于文学母题,即通过刻意的去叙事化手法强调叙事内容;据此,一些被笼统归类到"剧情电影"的作品应被移置于拒斥剧情纠葛与鲜明人物形象塑造的"诗电影"体系中。
Many contemporary Chinese films have the potential to reinterpret the poetic structure. Poem Expressing Ideal and Poem Origins from Affection are the two-basic expression of the poetic structure of contemporary Chinese films. The Chinese film's "Poem Expressing Ideal" structure is similar to a kind of Literature Motif that is to emphasize more clear narrative content repeatedly by means of intentional narration. According to this, some of the films that are generally classified as drama should be resembled to the system of "poetic film".
Many contemporary Chinese films have the potential to reinterpret the poetic structure. Poem Expressing Ideal and Poem Origins from Affection are the two-basic expression of the poetic structure of contemporary Chinese films. The Chinese film's "Poem Expressing Ideal" structure is similar to a kind of Literature Motif that is to emphasize more clear narrative content repeatedly by means of intentional narration. According to this, some of the films that are generally classified as drama should be resembled to the system of "poetic film".
引文
1[俄]鲍里斯·艾亨鲍姆.电影修辞问题.杨远婴译.李恒基,杨远婴主编.外国电影理论文选.北京:三联书店,2006.101.
2[意]皮尔·保罗·帕索里尼.诗的电影.桑重、姜洪涛译.世界电影,1984,(1):9-10.
3王冬冬,林梓浩.帕索里尼的诗性电影语言分析.当代电影,2013,(12):117-121.
4戴锦华.电影批评.北京:北京大学出版社,2004.3.
5江飞.“文学性”的语言学探索--论罗曼·雅各布森结构主义语言诗学思想.中国文学批评,2015,(1):110-120.
6郑君里.画外音.北京:中国电影出版社,1979.137.
2[意]皮尔·保罗·帕索里尼.诗的电影.桑重、姜洪涛译.世界电影,1984,(1):9-10.
3王冬冬,林梓浩.帕索里尼的诗性电影语言分析.当代电影,2013,(12):117-121.
4戴锦华.电影批评.北京:北京大学出版社,2004.3.
5江飞.“文学性”的语言学探索--论罗曼·雅各布森结构主义语言诗学思想.中国文学批评,2015,(1):110-120.
6郑君里.画外音.北京:中国电影出版社,1979.137.