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电影艺术作为文学的延伸,语言作为意义实践的载体也发生了一系列的变化。《如果·爱》即为其中一个典范。本文分为四大部分,阐述了三个方面的问题。首先,《如果·爱》讲故事的方法是“复调”的运用,“多声部”的构架实现了戏里戏外互动的可能;并且在对话的使用上也突出了新型的话语权利,即一个人的经历影响着他说话的方式,与传统意义上的性格话语无关。第二,歌舞语言的运用阐释了一个“狂欢”意义的现代宣泄模式,观众和演员均为主角的广场式文化心态突出一种现代人价值取向等等的悲情。最后,影片拍摄所运用的技巧语言和器物语言作为对传统文学作品语言的突破,描绘了情感和语言之间的矛盾,展示出一种心灵上的怀疑。作为中国电影边缘化多元创作的首例,语言已经独立出来,并且带着中国语言独特的魅力完成这一中心的文化探索。
Film art as an extension of literature, language as a carrier of meaning practice has also undergone a series of changes. “If love” is one example. This article is divided into four parts, elaborating three aspects of the problem. First of all, “if love” storytelling method is the use of “polyphony”, “polyphony” framework to achieve the possibility of interactive play outside the theater; and the use of the dialogue also highlights the new discourse rights, That is, a person’s experience influences the way he speaks, and has nothing to do with traditional personal discourse. Second, the use of the language of singing and dancing explains the modern catharsis model of “carnival” significance, the square cultural mentality of the protagonist of the audience and actor emphasizing the sadness of a modern man’s value orientation and so on. Finally, the language of craftsmanship and utensil used in filming as a breakthrough in the language of traditional literary works depict the contradiction between emotion and language and show a spiritual suspicion. As the first case of multi-faceted Chinese film creation, the language has become independent and accomplishes the cultural exploration of this center with the unique charm of the Chinese language.