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已故波兰电影大师克日什托夫·基耶斯洛夫斯基(Krzysztof Kieslowski)在波兰本土所拍摄的早期作品,不像他之后的《蓝色》、《白色》、《红色》等在国外拍摄的电影,有古老的人道主义的余辉温情脉脉地闪耀于其中,相反地却总是涂上一层浓浓的虚无的色彩,对所有的人生价值都抱有存在主义式的悲观。这在他1981年的影片《盲打误撞》中有所展现,本文拟从该影片的叙事结构和镜像话语两方面来分析影片中所蕴含的泡影和虚无。
The late Polish filmmaker Krzysztof Kieslowski’s earlier work on Polish soil, unlike his later “Blue,” “White,” “Red,” etc. Films shot abroad, ancient aftershocks of humanity shine in them warmth, but on the contrary it is always painted a thick layer of nothingness, all life values are existential pessimism. This is demonstrated in his 1981 film “Blind Flight”, this article attempts to analyze the bubble and the nothingness contained in the film from the narrative structure and the mirror language of the film.