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《我不是潘金莲》在形式上采用了圆形、方形和宽银幕的构图方式,造成了一种间离效果,将观众从叙事中剥离出来,并在这一剥离中使观众增强对影片主题的接受;其次,在叙事上,导演通过李雪莲三次放弃上访,把影片的叙事重心由制度转向个体,事件的本质也由理性滑向了荒诞,这一转变化解了政治题材的敏感性,削弱了影片的批判力度;最后,叙事重心转移造成的荒诞性是影片中小人物话语缺失后对生存困境的妥协。从形式到叙事再到主题的表达,体现出现实中导演对审查制度以及影片中角色对政治制度的双重妥协。
“I’m not Pan Jinlian” formally adopted a circular, square and widescreen composition, resulting in a kind of separation from the narrator, and in this stripping, the audience is made more aware of the theme of the film Secondly, in the narrative, the director gave up the petition three times by Li Xuelian and shifted the narrative focus of the film from the system to the individual. The essence of the incident slipped from rationality to absurdity. This change resolved the sensitivity of the political subject and weakened the Finally, the absurdity caused by the transfer of narrative focus is the compromise of living predicament after the lack of discourse of the small characters in the film. From the form to narrative to the theme of expression, reflects the reality of the censorship of the system and the role of the film on the political system of the double compromise.