“彩虹电影”:魏德圣的共居创作与共群想象

发布时间：2018-04-23 06:12

本文选题：魏德圣 + 彩虹电影　；参考：《当代电影》2017年09期

【摘要】："彩虹"是魏德圣为数不多的电影创作中反复出现的符号。他的"彩虹电影"实践表现为:人物形象塑造几乎是清一色的从Loser到winner的华丽转变;叙事架构是两条或多条叙事线的跨越与融合;艺术语言呈现为对多种元素的跨类型运用。魏德圣以情绪性娱乐为手段,既有明确的市场逻辑诉求;又以全知型的历史框架彰显叙事野心,以共居式架构表述所谓"新台客"的台湾共群想象和历史和解姿态。魏德圣融合式电影创作所呈现的时间效力和文化感性,及其电影所涉及的当代台湾复杂的社会议题和文化面向,既受魏德圣艺术理念和历史价值观主导,也是台湾电影生态的某种表征。
[Abstract]:The Rainbow is a symbol that appears repeatedly in the creation of Wei Desheng's few films. The practice of his Rainbow Film is as follows: the portrayal of characters is almost a magnificent transformation from Loser to winner; the narrative structure is the crossing and fusion of two or more narrative lines; and the artistic language presents a cross-type application of many elements. By means of emotional entertainment, Wei Desheng not only has clear market logic appeal, but also shows narrative ambition in the historical framework of omniscience, and expresses the imaginations and historical conciliatory postures of the so-called "New Taiwan guests" in the cohabitation structure. The time effect and cultural sensibility presented by Wei Desheng's integrated film creation, and the complicated social issues and cultural orientation of contemporary Taiwan involved in the film, are dominated by Wei Desheng's artistic ideas and historical values. It is also a representation of Taiwan's film ecology.
【作者单位】：四川师范大学影视与传媒学院;
【基金】：教育部2017年度人文社科基金项目“台湾电影的中国叙事研究” 四川师范大学2016年度校级重点扶持项目“台湾电影的心理流变研究”阶段性成果
【分类号】：J911

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