论张爱玲小说叙事的电影化特征
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摘要
张爱玲与电影的关系非同一般,她从电影这种新兴的艺术形式中汲取养分,形成了自己独特的叙事技巧。时间、空间的自由转换,故事情节发展的戏剧性表现,这些电影化特征被张爱玲兼收并蓄,她对"镜头性"、"特写性"等影像修辞格的视觉化移植,既在感官上带给读者强烈的画面感,又强化了小说语言在深入人物内心方面的优越性。更为重要的是,她虽沉迷于电影,但却对电影的本质和虚幻性有着清醒的认识与把握,并有一定的反省与批判。
Zhang Ailing's relationship with the film is extraordinary. She draws nutrients from the emerging art form of the film and forms her own unique narrative skills. The cinematic features such as the free conversion of time and space, and the dramatic performance of the development of the storyline are absorbed by Zhang Ailing. Her visualization of image rhetoric such as "lens" and "close-up" has brought readers a strong sense of perception. At the same time, it strengthens the superiority of the novel language in deepening the inner feelings of the characters. What is more important is that although she is obsessed with movies, she has a clear understanding and grasp of the nature and unreality of the film, and a certain amount of introspection and criticism.
Zhang Ailing's relationship with the film is extraordinary. She draws nutrients from the emerging art form of the film and forms her own unique narrative skills. The cinematic features such as the free conversion of time and space, and the dramatic performance of the development of the storyline are absorbed by Zhang Ailing. Her visualization of image rhetoric such as "lens" and "close-up" has brought readers a strong sense of perception. At the same time, it strengthens the superiority of the novel language in deepening the inner feelings of the characters. What is more important is that although she is obsessed with movies, she has a clear understanding and grasp of the nature and unreality of the film, and a certain amount of introspection and criticism.
引文
[1]殷允芃.访张爱玲女士[G]//金宏达.昨夜月色.北京:文化艺术出版社,2003:318.
[2]张爱玲.张爱玲散文全编[M].杭州:浙江文艺出版社,1992.
[3]李欧梵.不了情——张爱玲与电影[M]//金宏达.镜像缤纷.北京:文化艺术出版社,2003:386..
[4]伊丽莎白·鲍温.小说家的技巧[J].世界文学,1979,(1):15-17.
[5]陈平原.中国小说叙事模式的转变[M].北京:北京大学出版社,2003:32.
[6]程予诚.现代电影学[M].台北:五南图书出版公司,1982.
[7]贾磊磊.电影语言学导论 [M].北京:中国电影出版社,1996:174.
[8]戴维·莫利.媒体研究中的消费理论[M]//罗钢,王中忱.消费文化读本.北京:中国社会科学出版社,2003:462.
[9]劳拉·穆尔维.视觉快感和叙事性电影[C]//影视文化:第一辑.北京:文化艺术出版社,1988:50.
(1)本文所引张爱玲小说均出自《红玫瑰与白玫瑰》,安微文艺出版社1988年第一版。
[2]张爱玲.张爱玲散文全编[M].杭州:浙江文艺出版社,1992.
[3]李欧梵.不了情——张爱玲与电影[M]//金宏达.镜像缤纷.北京:文化艺术出版社,2003:386..
[4]伊丽莎白·鲍温.小说家的技巧[J].世界文学,1979,(1):15-17.
[5]陈平原.中国小说叙事模式的转变[M].北京:北京大学出版社,2003:32.
[6]程予诚.现代电影学[M].台北:五南图书出版公司,1982.
[7]贾磊磊.电影语言学导论 [M].北京:中国电影出版社,1996:174.
[8]戴维·莫利.媒体研究中的消费理论[M]//罗钢,王中忱.消费文化读本.北京:中国社会科学出版社,2003:462.
[9]劳拉·穆尔维.视觉快感和叙事性电影[C]//影视文化:第一辑.北京:文化艺术出版社,1988:50.
(1)本文所引张爱玲小说均出自《红玫瑰与白玫瑰》,安微文艺出版社1988年第一版。