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具有小说家、电影编剧、导演等多重身份的杜拉斯踏入中后创作期时正值法国当代电影理论与新浪潮电影运动方兴未艾。在当时电影文化潜移默化的影响下,杜拉斯将电影技法移植到文学创作中,并娴熟地将电影语言转化为一种独特的文学语言。杜拉斯在其进入中后期创作的发轫之作《劳儿之劫》里,充分利用光影以营建出承载人物异化心理的空间,使得文本中空间的变化在适应光影变化的同时也适应人物心理的变化;专注于人物肢体语言的表达,肢体动作制造文本上的运动—影像,从情境到动作与从动作到情境这两种动作—影像形式贯穿其中;叙事视角具有摄像机功能,叙事视角与所塑造的人物的关系相当于摄像机与被摄主体的关系,文本选择性地呈现时空、场景、因果、矛盾等,由此产生一种剪辑艺术,即蒙太奇艺术。透视《劳儿之劫》中的电影语言和电影美学并从中寻找其影像化叙事的创构影迹,以电影理论去分析文本就显得十分必要。本文建立在对《劳儿之劫》的理解基础上,结合相关电影理论,重点分析作品中的光影空间、动作—影像与蒙太奇艺术,以此解译叙事文本中的电影语言与电影美学。
Duras, who has multiple identities of novelists, screenwriters and directors, entered the post-production period, just as the French contemporary film theory and the new wave of film movement are on the rise. Under the influence of the subtle influence of film culture at the time, Duras transplanted film technique into literary creation and skilfully translated film language into a unique literary language. Duras made full use of light and shadow to create a space that carries the characters’ alienation psychology in the epoch-making work of “Lao Er Jie”, which makes the changes in the text adapt to the change of light and shadow as well as the psychology of characters ; Focus on the expression of the body language of the characters, body movements to create text on the movement - images, from the situation to the action and from the action to the situation of these two actions - the image form runs through them; narrative perspective with camera function, narrative perspective and the The relationship between the characters created is equivalent to the relationship between the camera and the subject. The text selectively presents space-time, scenes, causalities and contradictions, thus creating a montage art. Looking at the movie language and film aesthetics in “Lao Er Jie” and looking for the creative shadow of its image narration, it is very necessary to analyze the text with movie theory. Based on the comprehension of “Lao Er Jie Jie” and the related film theory, this article focuses on analyzing the light and shadow space, the motion - imagery and montage in the works, in order to explain the film language and film aesthetics in narrative texts.