印度导演拉库马·希拉尼喜剧类型电影风格探析
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摘要
拉库马·希拉尼是印度近年来极具国际影响力的喜剧电影导演,他极富现实主义的批判精神和个性化的喜剧电影创作手法给人们以深刻启示。一方面,希拉尼以看似轻松的喜剧影像笔调映射、调侃和批判社会现实问题,在拆解社会顽疾的同时试图建构一种理想主义的生活图式;另一方面,他积极寻求内容与形式表达上的创新与突破,努力将印度歌舞叙事与国际化的试听表现手法融入类型人物的个性化塑造之中,逐渐形成了独具一格的神经喜剧电影艺术风格。探讨希拉尼喜剧类型电影风格与特征有助于我们更好汲取经验,打造具有国际竞争力的国产喜剧电影品牌。
Rajkumar Hirani is an Indian comedy film director with great international influence in recent years. The audience are profoundly enlightened by his highly realistic critical spirit and personalized comedy film creation methods. On the one hand,Hirani has mapped,ridiculed,and criticized social reality issues with seemingly relaxed comic images,trying to construct an idealistic life pattern while dismantling social diseases. On the other hand,he has actively explored innovation and breakthroughs in expression of content and forms,striving to integrate the Indian singing and dancing narrative with internationalized auditioning techniques into the individualized shaping of typical characters,as a result of which a unique art style of screwball comedy has come into being. Exploring the style and features of Hiranis comedy films will help us better learn from experience and create domestic competitive comedy movie brands with international competitiveness.
Rajkumar Hirani is an Indian comedy film director with great international influence in recent years. The audience are profoundly enlightened by his highly realistic critical spirit and personalized comedy film creation methods. On the one hand,Hirani has mapped,ridiculed,and criticized social reality issues with seemingly relaxed comic images,trying to construct an idealistic life pattern while dismantling social diseases. On the other hand,he has actively explored innovation and breakthroughs in expression of content and forms,striving to integrate the Indian singing and dancing narrative with internationalized auditioning techniques into the individualized shaping of typical characters,as a result of which a unique art style of screwball comedy has come into being. Exploring the style and features of Hiranis comedy films will help us better learn from experience and create domestic competitive comedy movie brands with international competitiveness.
引文
[1]拉库马·希拉尼的星路历程[EB/OL].(2016-07-30)[2018-01-15].http://www.1905.com/mdb/star/1317074/?fr=vod_3.
[2]陈华侨.印度的电影为什么比中国强?[EB/OL].(2017-08-30)[2018-01-16].http://www.sohu.com/a/168325079_765877.
[3]P.K.(2014)-Box Office Mojo[EB/OL].(2015-02-12)[2018-03-14].http://www.boxofficemojo.com/movies/?id=pk.htm.
[4]付筱茵,周方元.大众化狂欢与想象化社群:拉库马·希拉尼电影创作探析[J].贵州大学学报(艺术版),2016(10):11.
[5]武丹.新世纪印度电影创作战略及启示[J].当代电影,2014(7):176.
[6]陈正.傻与不傻,教育都在进行:观印度电影《三傻大闹宝莱坞》之感[J].师道,2012(9):39.
[7]程欣.印度神片何以“秒杀”中国电影[J].新城乡,2015(7):74.
[8]“印度电影正经历最好的时代”对话《三傻大闹宝莱坞》导演拉库马·希拉尼[EB/OL].(2014-05-02)[2018-01-15].http://www.infzm.com/content/100329.htm.
[9]杨晓林.论迪斯尼爱情动画电影的神经喜剧模式[J].北京电影学院学报,2012(1):59.
[10]弗兰克·毕佛.电影术语词典[M].童锦荣,黄庆,译.北京:解放军文艺出版社,1993:193.
[11]冯欣.作为意识形态战场的性别喜剧:好莱坞神经喜剧研究[J].北京电影学院学报.2010(2):70.
[12]艾小柯.拉库马·希拉尼《三傻大闹宝莱坞》寻找内心的兰彻[J].普洱,2012(2):106.
[13]陈锋.新世纪宝莱坞叙事模式的嬗变[D].重庆:西南交通大学,2013:5.
[14]郭学勤.《印度往事》的文化隐喻[J].内蒙古民族大学学报(社会科学版),2003,29(12):24.
[15]庄延江.印度电影的海外市场开拓策略探析[J].北京电影学院学报,2015(1):61.
[16]孙建业.论当代印度电影的民族特征[J].电影文学,2017(1):22.
[17]李美敏,周丽琴.印度电影中歌舞的叙事功能[J].电影评介,2011(18):14.
[2]陈华侨.印度的电影为什么比中国强?[EB/OL].(2017-08-30)[2018-01-16].http://www.sohu.com/a/168325079_765877.
[3]P.K.(2014)-Box Office Mojo[EB/OL].(2015-02-12)[2018-03-14].http://www.boxofficemojo.com/movies/?id=pk.htm.
[4]付筱茵,周方元.大众化狂欢与想象化社群:拉库马·希拉尼电影创作探析[J].贵州大学学报(艺术版),2016(10):11.
[5]武丹.新世纪印度电影创作战略及启示[J].当代电影,2014(7):176.
[6]陈正.傻与不傻,教育都在进行:观印度电影《三傻大闹宝莱坞》之感[J].师道,2012(9):39.
[7]程欣.印度神片何以“秒杀”中国电影[J].新城乡,2015(7):74.
[8]“印度电影正经历最好的时代”对话《三傻大闹宝莱坞》导演拉库马·希拉尼[EB/OL].(2014-05-02)[2018-01-15].http://www.infzm.com/content/100329.htm.
[9]杨晓林.论迪斯尼爱情动画电影的神经喜剧模式[J].北京电影学院学报,2012(1):59.
[10]弗兰克·毕佛.电影术语词典[M].童锦荣,黄庆,译.北京:解放军文艺出版社,1993:193.
[11]冯欣.作为意识形态战场的性别喜剧:好莱坞神经喜剧研究[J].北京电影学院学报.2010(2):70.
[12]艾小柯.拉库马·希拉尼《三傻大闹宝莱坞》寻找内心的兰彻[J].普洱,2012(2):106.
[13]陈锋.新世纪宝莱坞叙事模式的嬗变[D].重庆:西南交通大学,2013:5.
[14]郭学勤.《印度往事》的文化隐喻[J].内蒙古民族大学学报(社会科学版),2003,29(12):24.
[15]庄延江.印度电影的海外市场开拓策略探析[J].北京电影学院学报,2015(1):61.
[16]孙建业.论当代印度电影的民族特征[J].电影文学,2017(1):22.
[17]李美敏,周丽琴.印度电影中歌舞的叙事功能[J].电影评介,2011(18):14.