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本文按照时间顺序,尝试对英国女导演琳恩·拉姆赛(Lynne Ramsay)的主要作品做一主题学的解读。出生于苏格兰格拉斯哥地区的拉姆赛于1996年从国家影视学校(the National Film and Television School)电影与导演专业毕业。在此后不到三年的时间里,她就以《微小的死亡》(Small Deaths)等几部短片初步展示出高度风格化的美学气质。随后问世的她的首部剧情长片《捕鼠者》(Ratcatcher,1999)更是一部一鸣惊人的杰作。以《捕鼠者》为开端,拉姆赛接续了20世纪50年代英国“自由电影”运动所开创的独立制片传统与批判精神。同时,她对底层劳动者日常生活的持续关注也与“厨房水槽”(Kitchen Sink)式的现实主义构成有趣的呼应。新世纪以来,凭借《默文·卡拉》(Morvern Callar,2002)和《我们得谈谈凯文》(We Need To Talk About Kevin,2011),拉姆赛开始涉足类型电影。(1)总体看来,她的多部作品都将视点集中于女性和儿童--现代社会中长期遭受压抑的两类主体,并常常涉及自杀、凶杀甚至碎尸等奇情因素。另外,她还把一种难能可贵的浪漫诗意赋予日常生活中那些荒芜琐碎的时刻、姿态甚或是不成其为事件的事件。而且,她还表现出一种颇为激进的个人主义立场并由此赋予作品鲜明的美学诉求。她的电影创作实践不仅为我们认识和了解当代英国社会的现实生活提供了一个难得的契机,其独特的视听美学更是令影片所处理的众多主题得以产生极具普遍性的反响。
In chronological order, this article attempts to provide a thematic reading of the main work of the British director Lynne Ramsay. Ramsay, born in Glasgow, Scotland, graduated in 1996 from the National Film and Television School in Motion Picture and Director. Within a period of less than three years, she initially demonstrated highly stylized aesthetics with several short films such as “Small Deaths.” Later released her first feature film “Ratcatcher” (1999) is a blockbuster masterpiece. Starting with the “rat catcher,” Ramsey follows the tradition and critical spirit of independent filmmaking pioneered by the British “Free Movie” movement in the 1950s. At the same time, her constant focus on the daily work of the bottom laborer is also an interesting echo of Kitchen Sink’s realism. Since the beginning of the new century, Ramsay has been involved in genre films with “Morvin Callar” (2002) and “We Need To Talk About Kevin” (2011). (1) In general, many of her works focus on women and children - two types of protracted and pent-up subjects in modern society, often involving such fantastic factors as suicide, murder and even demolition. In addition, she also gives a commendable romantic poetic to those trivial moments, gestures or even incidents of events in daily life. Moreover, she also showed a rather radical individualist position and thus gave her distinct aesthetic appeal. Her filmmaking practice not only provided a rare opportunity for us to know and understand the real life of contemporary British society, but also its unique audio-visual aesthetics has produced a very universal response to many topics handled by the film.