张爱玲小说中电影时空转换技巧的运用
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摘要
小说属于叙事类文学,叙事就是讲故事,因为语言是线型的,所以故事总是在一定的时空中沿线型展开,故而小说的叙事技巧在某种程度上讲就是作者精心安排人物在一定时间与空间里展开行为的艺术。电影打破了小说语言叙事的线型制约,运用蒙太奇手法将不同时空的人与事并置在同一时空里,并且使时空转换自如,从而极大地拓展了叙事的时空。张爱玲特别钟情于电影叙事的时空转换技巧,将电影渐显渐隐、化入化出、叠印、闪回等时空转换技巧化用在自己的小说创作中,不仅使其小说叙事时空获得了极大的自由与灵活性,丰富了小说的叙事手法,而且也使其小说特别具有视觉效果与动感,被称为"写在纸上的电影"。
Novels belong to literature of narration, which means telling stories. Since language is linear, stories are told linearly within a particular space and time, which predetermines that the narration of novels should be arranged within a particular space and time along with the deliberate arrangement of all characters. Movies break through the linear limits of the narration of novels, and reallocate characters and issues from different space and time into the same space and time with the help of montage, which remarkably extends the space and time of narration. Eileen Chang has special enthusiasm for the skills of space-time conversion in movies, and applies such skills as gradual dissolving, fading, superimposition, flashback,etc. into her creation of novels, which bestows her novels with more freedom and flexibility, enriches the narrative methods and endows her novels with special visual and dynamic effects. Therefore, her novels are referred to as "movies on paper".
Novels belong to literature of narration, which means telling stories. Since language is linear, stories are told linearly within a particular space and time, which predetermines that the narration of novels should be arranged within a particular space and time along with the deliberate arrangement of all characters. Movies break through the linear limits of the narration of novels, and reallocate characters and issues from different space and time into the same space and time with the help of montage, which remarkably extends the space and time of narration. Eileen Chang has special enthusiasm for the skills of space-time conversion in movies, and applies such skills as gradual dissolving, fading, superimposition, flashback,etc. into her creation of novels, which bestows her novels with more freedom and flexibility, enriches the narrative methods and endows her novels with special visual and dynamic effects. Therefore, her novels are referred to as "movies on paper".
引文
[1][匈]巴拉兹·贝拉.电影美学[M].何力,译.北京:中国电影出版社,1978.
[2]张子静.我的姊姊张爱玲[M].上海:学林出版社,1997.
[3]雨迅.论张爱玲的小说[C]//子通,亦清.张爱玲评说六十年.北京:中国华侨出版社,2001.
[4]蒙太奇[EB/OL].https://baike.so.com/doc/1107414-1171799.html
[5]殷允.访张爱玲女士[C]//金宏达.回望张爱玲昨夜月色.北京:文化艺术出版社,2003.
[6][美]爱德华·茂莱.电影化的想象--作家和电影[M].邵牧君,译.北京:中国电影出版社,1989.
[2]张子静.我的姊姊张爱玲[M].上海:学林出版社,1997.
[3]雨迅.论张爱玲的小说[C]//子通,亦清.张爱玲评说六十年.北京:中国华侨出版社,2001.
[4]蒙太奇[EB/OL].https://baike.so.com/doc/1107414-1171799.html
[5]殷允.访张爱玲女士[C]//金宏达.回望张爱玲昨夜月色.北京:文化艺术出版社,2003.
[6][美]爱德华·茂莱.电影化的想象--作家和电影[M].邵牧君,译.北京:中国电影出版社,1989.