论文部分内容阅读
1962年,库布里克把纳博科夫的小说《洛丽塔》搬上银幕,电影延续了原著的精神,却进行了创造性的改写。通过客体化亨伯特的思想,并利用他对洛丽塔和奎迪的错误认知设计了两重真相,电影把主人公的自我辩护改写成了他的虚幻想象的展开及破灭。电影的美学政治在影像的美学诗学与再现诗学的对抗性共存中产生,库布里克使摄影机取得了凌驾于第一人称叙述者和小说叙述形式之上的权威,一方面加强了故事世界延展的美学性,另一方面表达了电影美学政治的要义:被动且无能的亨伯特被他自己的虚幻想象所奴役,从而与现实隔离,当行为与故事世界无法协调时,他的幻想破灭,他认清现实,并以对爱和欲望的新感知和新理解对自身进行改造。
In 1962, Kubrick put Nabokov’s novel “Lolita” on the screen, the film continues the spirit of the original, but a creative rewrite. By objectifying Humbert’s thought and making use of his mistaken cognition of Lolita and Quiddy, he designed the two truths. The movie rewrites the protagonist’s self-defense into the unfolding and shattering of his illusory imagination. The aesthetics politics of the film arises in the confrontational coexistence of the aesthetics poetics and the poetics of reproduction. Kubrick made the camera superior to the first-person narrator and the narrative form of novels, and strengthened the story world Extension of the aesthetics, on the other hand expresses the essence of the film aesthetic politics: passive and impotent Humbert is enslaved by his own illusion, and thus isolated from reality, when the behavior and the story of the world can not be coordinated, his fantasy shattered He recognized the reality and transformed himself with new perceptions and new understandings of love and desire.